Creating cinema is an act of courage and vulnerability, a willingness to lay bare one’s innermost thoughts and emotions for all the world to see. It is a delicate dance between imagination and reality, a balancing act between the inner and outer worlds. As a filmmaker, you are both the conductor and the instrument, channeling your own experiences and those of others into a symphony of images, sounds, and emotions.
To tell a story on film is to take a journey into the depths of the human soul and explore the mysteries of life and the universe. It requires an open heart and a curious mind, a willingness to embrace the unknown, and a willingness to confront the darker aspects of the human condition. As you create each scene, you must immerse yourself in the world of your characters to feel their joys and sorrows, their fears and triumphs. Only then can you capture the essence of their story and bring it to life on the big screen.
The Worst Ones shows us that whether a movie is good or bad, or even whether the performances are good or bad, cinema just doesn’t come from anywhere; that is the beauty of it. The movie dives right into a casting call; the audience is introduced to inexperienced actors who are being filmed answering questions from Gabriel (Johan Heldenbergh) about their personal experiences. Gabriel explicitly states that he is seeking children who have faced hardships because the film revolves around young characters facing difficult situations. One of the children being interviewed comments that it seems like Gabriel is searching for “the worst ones”.
The Worst Ones is a true cinematic experience at its best; it feels at times like a shift between documentary and fiction, taking us on an emotional rollercoaster ride in its 99-minute runtime. Its realism and fictional storytelling seamlessly blend the two to create an experience that feels both raw and authentic. Amidst the sprawling housing project located on the fringes of Boulogne-sur-Mer, a mesmerizing tale unfolds, chronicling the casting, pre-production, and filming of a feature by a Belgian director. Despite having reached the age of 54, the director’s unbridled enthusiasm for creating his first full-length film, which goes by the name Pissing Into The North Wind and is shrouded in mystery, is palpable. Together with his crew, Gabriel embarks on an arduous journey of auditions, rehearsals, filming, and recording as they work tirelessly with their cast of underage actors hailing from the ‘Cité Picasso’ housing estate.
In this captivating story, boundaries are tested and moral lines are blurred as the authentic and unfiltered essence of gritty realism takes center stage. It is a true-to-life portrayal of the challenges and triumphs of young individuals navigating the perils of poverty, familial discord, and societal woes. Gabriel is not depicted as a villain, nor does the film encourage the audience to pass judgment on him. Instead, Gabriel is portrayed as a person who is simply doing his job, albeit not very skillfully, and who struggles with issues of boundaries. While he does not cross any sexual lines and has good intentions, his behavior is problematic. The movie delves into the complexities of child acting and filmmaking, posing difficult questions that do not have simple answers or solutions.
Ryan, portrayed by Timéo Mahaut, is a troubled young individual who faces domestic struggles while residing with his mother. His primary objective is to regain control of his life. On the other hand, Mallory Wanecque plays the character of Lily, a pregnant teenager who is ecstatic at the prospect of becoming a movie star. Despite her enthusiasm for the film, Lily has been subjected to humiliating ‘slut-shaming’ by her peers at school, making her feel judged and ostracized. She sees the movie as a means of escape from reality, but her hopes of a romantic encounter in the film soon seem improbable. There is also Jessy (Loïc Pech), who seems to conceal his feelings of insecurity by projecting a facade of casual misogyny.
Although the details of the film within the film remain undisclosed, it is evident that it reinforces the societal labels and stereotypes that constrain the young actors. The characters in the film seem to be confined to roles that align with their real-life struggles and circumstances, reflecting the harsh realities they face. Through this portrayal, the movie provides a mirror to the societal pressures and preconceptions that restrict and define the youth, prompting them to confront their limitations and break free from them.
The film skillfully depicts how filming affects the two central characters, who grapple with personal traumas that shape their identities as troubled individuals and influence their on-screen performances. The boundaries between documentary and narrative techniques are cleverly blurred in the film. Similarly, Gabriel, the director, adopts a strategic approach to elicit outstanding performances from the two leads. However, his methods can be perceived as manipulative or even inappropriate by some as he seeks to tap into their inner emotions past experiences and vulnerabilities to draw out their best work.
The child actors in this film deliver outstanding performances that are both authentic and emotionally resonant. Despite the fact that this is a movie featuring young actors, it is not solely intended for a young audience. Instead, it is a courageous exploration of the challenges that child actors face both on and off the set. While the content can be unsettling, it is also illuminating and shines a light on the exploitative practices that can occur in the film industry, as captured by the insightful direction of Lise Akoka and Romane Gueret. The Worst Ones is a rollercoaster ride of emotions that’s worth every bite.
The Worst Ones will open in New York on March 24 courtesy of Kino Lorber with additional markets to follow.
The Worst Ones is a rollercoaster ride of emotions that’s worth every bite.
-
GVN Rating 10
-
User Ratings (0 Votes)
0
It all started when I was a kid watching Saturday morning cartoons like the Spider-Man: Animated Series and Batman. Since then I’ve been hooked to the world of pop culture. Huge movie lover from French New Wave, to the latest blockbusters, I love them all. Huge Star Wars and Marvel geek. When I’m free from typing away at my computer, you can usually catch me watching a good flick or reading the next best comic. Come geek out with me on Twitter @somedudecody.