You must have asked yourself the question, riveted in front of the news channels continuously: and if it had been me... If it were you, in the Bataclan Hall, one night in November. You or a relative? What turning point would have taken your life? You will not hate me, the adaptation of the eponymous book by Antoine Leiris, proposes to answer this question.
The ghost movie
So much the text by Antoine Leiris, in the aftermath of the attacks, has made talk about him, as much You will not hate me Ciné version is widely passed under radars. And unfortunately for him, he attracts rather murderous critics. Yet, a significant part of the film contains some nice surprises, on which we are going to dwell before seeing why the feature film is so angry.
Shock duo!
It must be said, the duo formed by Pierre Deladonchamps (sliding in the skin of Antoine Leiris) and Camelia Jordana (His wife Helen) farts the screen. The exhibition – even if the spectator knows exactly what will happen – creates a strong emotional attachment for this couple and their kid, Melvil. Molt details scattered in this sequence support an atmosphere that would easily be found in the After Life of the Ricky Gervais : a tenacious nostalgia of the last moments, a bitter swing between the potentiality of a fantasy future and the compressor roller of the present that faces us.
Anyway, You will not hate me soberly begins – the staging is rather simplistic – but manages to touch the spectator thanks to the deployment of this common love (of this couple who love, who desire, who yell). Unfortunately, this successful part takes place on less than forty minutes of feature film. Then stay an hour of suffering...
And the palm of the crying comes back to...
Indeed, if we have praised the segments of interactions between the two main actors it must also be recognized that, in some scenes, Pierre Deladonchamps is to the west. Cris and borborygms unbearable, all filmed in close-up: he was at one finger tearing the palm out of the unbearable crying With love and ardour... An actor management problem which is felt with almost all the rest of the casting (mothers at the nursery, buddies, etc.) and gives rise to really lunar parts.
Ein Sprachproblem?
It's time to talk about the director, Kilian Riedhof. Apart from a film broadcast by Arte in 2011, HomevideoRiedhof didn't make much talk about him on our side of the Röstigraben... And for cause! He is known for German television productions. If the basic premise of giving the bar of a film about the attacks to a guy without a direct connection to Paris might seem judicious, it struggles to show us the extent of his talents. And it's an understatement! Apart from the problem of directing actors, we talked about it, he does little better with his camera.
Achievement at the level of the Passerettes
The standard plane of the film is the close-up on the face, camera to the shoulder. A tic of realization which is found in many of the current dramas and which brings neither originality nor added value, at the most tired and angry. The camera can't film space, body, movement... And if the staging evolves at the end of the film, it's for the worst! She will indeed adopt a Malian substitute falling from nowhere and furious as possible: shaving light, floating camera, proximity to nature... Subtleness to indicate soothing, we saw better.
The Hate
Indeed, the clumsy play of certain actors or the staging of telefilm are not so disturbing, at least not as much as the surreal scene between Deladonchamps/Leiris and his wife's friend, which he sees for the first time. The latter was in the Bataclan by his side and, during a field-crossfield of the underworld, will explain in detail the horrors of the attack. Having not read the book, I cannot say whether or not it appears in the original text, but whatever... Riedhof could have largely stalemated.
The director, on the contrary, puts layers of it: the face of Deladonchamps which decomposes, a neon red light which one would believe borrowed from a Noah in the descent of ketamine and this friend who spread in the atrocious descriptions of what happened to the late Helen that night. A scene that suffices itself to amputate the film all qualifier of « Pudic » – yet recurrent in the « critical »/promo – and create total hatred against the film.
Attack film(s)
So no, You will not hate me does not have the modesty of See Paris again Alice Winocour. No more than he did the energetic vigour of November Jimenez. Despite the many defects of these two films, each with its own sauce, You will not hate me is clearly a good step below.
But if he has anything to piss off, the power that he manages to deploy in his first third prevents him from throwing it away. It contains in its first part true beautiful moments, sincere and touching, which in themselves legitimize viewing. It will then be enough to opt for the quick advance on the most annoying scenes and the tour will be played!
Data sheet
DVD Zone B (France)
Publisher: Blaq Out
Duration: 99 min
Release date: 02 May 2023
Video format : 576p/25 - 2.35
Soundtrack : French Dolby Digital 5.1 (and 2.0)
Subtitles French
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