Gagarine

Posed as a kind of magical realism, the adaptation of the short film "Gagarine" (2015) manages to broaden the vital horizon of the protagonist, although it does not reach a greater depth. The representation of poverty through the protagonist's dreams causes the visual aspect to opt in the last part for the fantasy embedded in a painful reality. In this sense, the directing work is remarkable, but it does not manage to solve the narrative dispersion.

I like this movie, made with a great sensitivity and accuracy, a good knowledge of the suburbs and pulled by directing skills from this young couple of film makers; a man and a woman. It is not exactly a drama, but more an analysis of the suburb and ghettos population's way of life. I felt close to those youngsters, though I have never lived what they feel. It's not LA HAINE nor LES MISERABLES, but it belongs to the same kind of social movies, not as gloomy as a Ken Loach. And for once, ghetto is evoked without drug traffic, only some weed use during a party between young folks. I definitely love this feature though this kind of picture is not necessarily my cup of tea. But the sad tone, not gloomy, sad, enchants me.

A lively tale, a kind of "parabol", about how an old, half broken complex of buildings, Gagarine, named from the famous cosmonaut, can turn out to be a place full of life and emotions. In an uneasy environment, constructive social interactions seem to have been able to create a positive atmosphere in which people tend to respect and help each other .

Yuri, this teenager boy dedicated to maintaining Gagarine, dives deeply into space in his mind, and his living place is a symbolic doorway to travel far away from existential issues, the main one being the absence of his mother.

Saving Gagarine is his graal, and his quest could refer to the hability of any human being to escape his human condition, to look for wisdom and spirituality.

"Les choses de la vie", meaning crucial emotional experience like love, friendship, respect, tolerance, forgiveness are present all along the movie in a delicate, subtle way sometimes.

This movie is a bright and optimistic vision of us, creatures gifted with intelligence, but so eager to use it in the wrong way.

The end is an illusion, Yuri's one; his vision as he gets free, driven into space as his life faints and Gagarine buildings are collapsing.

Absolutely stunning cinematography! The first-time directors do an amazing job of making the most out of beautiful shots, quiet and sincere conversations, and the character's hope for something more from our species. There are many moving moments between the characters and so much is developed from this small and beautiful story. I really feel like there is something different and special about this captivating movie.

Debutant writer-directors Fanny Liatard and Jérémy Trouilh's 2020 film is something of a mixed bag, but has moments of great beauty (wonder, even). I don't recall (off the top of my head) seeing a film which focuses on the impending demolition of a set of the titular tower blocks (here in a Parisian 'banlieu'), but the filmmakers provide a warts and all account of the varying views of its, predominantly multi-cultural immigrant, residents. The film's most intriguing thread centres on the history of the Gagarine name, based on the Soviet cosmonaut, Yuri Gagarin, who (as the film's documentary clip shows) visited the location to 'celebrate' its naming after him. This history has captured the imagination of Alséni Bathily's 'reluctant vacator', Youri, who has also (perhaps fancifully, but just go with it) tried to recreate (inspired by a TV documentary on the subject, which he continually watches) Gagarin's Vostok capsule in his own apartment!

Whilst the narrative of Gagarine is (being generous!) episodic, the film's 'magic realist' content (or sense of wonderment, if you prefer) slowly but surely, at least partly, got under this viewer's skin. As Youri's need for a 'sense of home' for Gagarine (exacerbated by his being estranged from his mother) is seemingly a near-unique concern, and despite Youri's attempts to 'renovate' elements of the building, it becomes clear (as the authorities decree) that he is fighting a lost cause. Youri finds some solace via a developing relationship with Lyna Khoudri's fellow resident and Roma, Diana, but even this appears to be temporary. Throughout, the film-makers give us some hypnotic sequences - including an eclipse of the sun and Diana's inventive use of morse code - which are enhanced by the film's visuals and its score by Evgueni and Sacha Galperine. As the film heads towards its denouement (with tension building as to whether Youri has evacuated the building), the film-makers up the magic realist content and give us a quite brilliant conclusion (which merits an additional star on its own).

In terms of 'genre', comparators might be taken to include films like La Haine and Girlhood or, from a UK perspective, Mike Leigh's Meantime. Closer to Gagarine, though, is something with a more magic realist feel, like Lynne Ramsay's brilliant Ratcatcher. Suffice to say, particularly in the scheme of most films you're likely to see at the local multiplex(!), Gagarine retains a welcome degree of distinction.