Understandably, the terrorist attacks in Paris on the night of November 13, 2015 have been treated with great sensitivity by the French film industry, and the only other film in the Cannes Film Fes…
— is a lightly fictionalized drama set in the aftermath of the night 130 people were killed, most of them at a rock concert at the city’s Bataclan nightclub. Though many names have been changed, for obvious security reasons,is, by contrast, a heavy-artillery just-the-facts-ma’am police procedural detailing the manhunt that followed in the next five days.
The Cannes out-of-competition film starts in a quite surprisingly low-key way, following a woman jogging the banks of the Seine as David Bowie’s mournful early 1970s cover “Sorrow” plays. The events of the night play out on screen, and though, quite rightly, we are not shown any of the carnage, we do find out that the jogger, Ines , is an off-duty cop with the city’s anti-terrorist team, and her shock when she gets a call from the team is a neat way of showing just how bad news really travels.
Thankfully, there are glimmers of humanity, and just when it seems that there might be no nuance at all to this effective but so far prosaic film, Jimenez pivots to the story of Samia , a young do-gooder at a homeless camp who has serious intel: her flatmate is bankrolling her cousin, one of the terrorists.takes off; Fred and Héloise put pressure on Ines to deliver the suspect by any means, and the film strikes out in a slight different direction.
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