The Monopoly of Violence (2020)
(Un pays qui se tient sage)
Country: FR
Technical: col 86m
Director: David Dufresne
Cast: doc.
Synopsis:
Sociologists, historians, commentators and participants on both sides of the Gilets Jaunes phenomenon gather to debate the question of legitimate force, confronted by the news and mobile footage of clashes between demonstrators and the police.
Review:
In the cool light of day, or more precisely that of a darkened room, various truths and definitions are discussed in typically French elevated register (terms like 'déontologie' and 'éplacer' not your everyday usage certainly). Through this process questions are addressed such as at what point the State is justified in using violence against its citizens, to what extent traditional media censor (or have censored) images of violence perpetrated by the police, the Pétainiste concept of 'une police nationale', the relative situation in countries such as Russia where preventive measures are adopted so that 'violence' is unseen, the duty of countries like France to offer an example of democracy to the world at large, etc. Unsurprisingly, the impression emerges less of a weekly spree of destruction on the part of the gilets jaunes, rather a police force that seems colonised by far right adherents giving way to unbridled anger. Film-making does not get more serious than this; Dufresne gives due exposure to the mobile phone footage, neatly contrasted with pristine 'before/after' shots of the locations; above all this is a talking heads movie, however, and a more eloquent and informed set of contributors it would be hard to assemble, as emotionally committed as they are at times prepared to modify their points of view.
(Un pays qui se tient sage)
Country: FR
Technical: col 86m
Director: David Dufresne
Cast: doc.
Synopsis:
Sociologists, historians, commentators and participants on both sides of the Gilets Jaunes phenomenon gather to debate the question of legitimate force, confronted by the news and mobile footage of clashes between demonstrators and the police.
Review:
In the cool light of day, or more precisely that of a darkened room, various truths and definitions are discussed in typically French elevated register (terms like 'déontologie' and 'éplacer' not your everyday usage certainly). Through this process questions are addressed such as at what point the State is justified in using violence against its citizens, to what extent traditional media censor (or have censored) images of violence perpetrated by the police, the Pétainiste concept of 'une police nationale', the relative situation in countries such as Russia where preventive measures are adopted so that 'violence' is unseen, the duty of countries like France to offer an example of democracy to the world at large, etc. Unsurprisingly, the impression emerges less of a weekly spree of destruction on the part of the gilets jaunes, rather a police force that seems colonised by far right adherents giving way to unbridled anger. Film-making does not get more serious than this; Dufresne gives due exposure to the mobile phone footage, neatly contrasted with pristine 'before/after' shots of the locations; above all this is a talking heads movie, however, and a more eloquent and informed set of contributors it would be hard to assemble, as emotionally committed as they are at times prepared to modify their points of view.
(Un pays qui se tient sage)
Country: FR
Technical: col 86m
Director: David Dufresne
Cast: doc.
Synopsis:
Sociologists, historians, commentators and participants on both sides of the Gilets Jaunes phenomenon gather to debate the question of legitimate force, confronted by the news and mobile footage of clashes between demonstrators and the police.
Review:
In the cool light of day, or more precisely that of a darkened room, various truths and definitions are discussed in typically French elevated register (terms like 'déontologie' and 'éplacer' not your everyday usage certainly). Through this process questions are addressed such as at what point the State is justified in using violence against its citizens, to what extent traditional media censor (or have censored) images of violence perpetrated by the police, the Pétainiste concept of 'une police nationale', the relative situation in countries such as Russia where preventive measures are adopted so that 'violence' is unseen, the duty of countries like France to offer an example of democracy to the world at large, etc. Unsurprisingly, the impression emerges less of a weekly spree of destruction on the part of the gilets jaunes, rather a police force that seems colonised by far right adherents giving way to unbridled anger. Film-making does not get more serious than this; Dufresne gives due exposure to the mobile phone footage, neatly contrasted with pristine 'before/after' shots of the locations; above all this is a talking heads movie, however, and a more eloquent and informed set of contributors it would be hard to assemble, as emotionally committed as they are at times prepared to modify their points of view.