Jean-Pierre Thorn

A portrait of Bouda, a 30-year-old young dancer, clandestine for life, a victim of the so-called "double punishment" law who, upon leaving prison, expels children from immigration to countries of origin.

From the Bronx to the Minguettes, in the underground passages of the inner city and working-class suburbs, a new artistic movement of rebellion has appeared over the past 15 years : "hip hop", with its tagging, rap and dance providing and outlet for an entire generation anxious to proclaim : "I exist !". Who are the dancers of this movement ? What are their experiences, their anger, their dreams, their hopes ? How is it that an entire generation – which sees itself as "burned" – identifies with the special energy of this youth culture ? What is the source of this unbridled beauty and body language which has moved form the street to the stage, upsetting all the codes of contemporary dance ? A journey of initiation to meet the heroes of this movement and give the floor to all those who normally are not heard except through the distorting prism of the media every time and inner city explodes.

From the Bronx to the Minguettes, in the underground passages of the inner city and working-class suburbs, a new artistic movement of rebellion has appeared over the past 15 years : "hip hop", with its tagging, rap and dance providing and outlet for an entire generation anxious to proclaim : "I exist !". Who are the dancers of this movement ? What are their experiences, their anger, their dreams, their hopes ? How is it that an entire generation – which sees itself as "burned" – identifies with the special energy of this youth culture ? What is the source of this unbridled beauty and body language which has moved form the street to the stage, upsetting all the codes of contemporary dance ? A journey of initiation to meet the heroes of this movement and give the floor to all those who normally are not heard except through the distorting prism of the media every time and inner city explodes.

В Канне проходит очередной кинофестиваль. В восхитительном приморском местечке собрались кинематографисты из всех стран мира. Но в этом ужасном году каннская идиллия обагрится кровью киношников… В этот раз знаменитый курорт — превратитсяв город страха… Здесь орудует чудовищный маньяк, безжалостно истребляющий киномехаников. Садист появляется в кинотеатре в зловещей маске сварщика, а затем расправляется со своими жертвами при помощи… чего бы Вы думали? Серпа и молота! Убийца полностью перевоплотился в ужасного героя дешевого фильма ужасов «Красный — мертв». Часы тикают, количество жертв растет… Теперь кто-то должен остановить убийцу!

Jeanne is a woman who is driven by her very active conscience. She attempts to assuage her idealistic bent by trying out life as a nun, but this doesn't work out. After she leaves the convent, she takes a job at a factory, where the callousness of management spurs her to become a labor activist. Her efforts are marked by great persistence and fervor, but she lacks any kind of diplomacy or persuasiveness, and as the years progress, she manages to alienate everyone in her life. By the end of the film, there is only one way that she can see to resolve the horrible situation she finds herself in.

Jeanne is a woman who is driven by her very active conscience. She attempts to assuage her idealistic bent by trying out life as a nun, but this doesn't work out. After she leaves the convent, she takes a job at a factory, where the callousness of management spurs her to become a labor activist. Her efforts are marked by great persistence and fervor, but she lacks any kind of diplomacy or persuasiveness, and as the years progress, she manages to alienate everyone in her life. By the end of the film, there is only one way that she can see to resolve the horrible situation she finds herself in.

Jeanne is a woman who is driven by her very active conscience. She attempts to assuage her idealistic bent by trying out life as a nun, but this doesn't work out. After she leaves the convent, she takes a job at a factory, where the callousness of management spurs her to become a labor activist. Her efforts are marked by great persistence and fervor, but she lacks any kind of diplomacy or persuasiveness, and as the years progress, she manages to alienate everyone in her life. By the end of the film, there is only one way that she can see to resolve the horrible situation she finds herself in.

Documentary about the ten thousand strikers of Renault-Flins factory