Black Out

Name: Lignes de front
Genre: Drama
Released: 2010-03-31
Duration: 1 h 35 min
Rating: 5.9
Cast: Jalil Lespert, Cyril Gueï, Patrick Rameau

Original title: Lignes de front

2009
1h 35m

IMDb RATING

5.9/10

YOUR RATING

Drama

Antoine Rives, a young independent journalist, is shooting news about the return of Westerners fleeing human slaughters in Rwanda... He meets Clement, a Hutu student whose Tutsi girlfriend r... Read allAntoine Rives, a young independent journalist, is shooting news about the return of Westerners fleeing human slaughters in Rwanda... He meets Clement, a Hutu student whose Tutsi girlfriend remains stuck in Rwanda. Clement convinces him to go back to Rwanda to look for her, lettin... Read allAntoine Rives, a young independent journalist, is shooting news about the return of Westerners fleeing human slaughters in Rwanda... He meets Clement, a Hutu student whose Tutsi girlfriend remains stuck in Rwanda. Clement convinces him to go back to Rwanda to look for her, letting him film their trip. They soon discover an unbelievable chaos, where their "pact" is har... Read all

Director
- Jean-Christophe Klotz
Writers
- Jean-Christophe Klotz
- Antoine Lacomblez
Stars

See production info at IMDbPro

IMDb RATING

5.9/10

YOUR RATING

Director
- Jean-Christophe Klotz
Writers
- Jean-Christophe Klotz
- Antoine Lacomblez
Stars

See production info at IMDbPro

Photos

Storyline

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Trivia
The poetry read by the surgeon at the dinner is an extract from "Liberté sur parole" by Octavio Paz, translated by Jean-Clarence Lambert (1966). Octavio Paz Lozano (1914 - 1998) was a Mexican poet and winner of the 1990 Nobel Prize for Literature.

Soundtracks
A Child is Born
Written by Thad Jones

User reviews2

Review

Featured review

Well intended but unconvincing Rwandan war story.

Mash-up of HOTEL RWANDA and UNDER FIRE has video journalist Lespert meeting French Hutu Gueï in an airport lounge and hearing his story about trying to find his missing Tustsi fiancée in the Rwandan war zone.

Lespert convinces boss Stévenin that he can make a documentary accompanying Gueï to Kigali on his search. Their time there (and the body of the film) is a confused mix of massacres, sheltering refugees, the UN post ordered only to use their weapons if they are in personal danger and the business of recording under hazardous conditions. Lespert comments that events are only in black and white to him watching his eye piece.

The issues may get a more thoughtful work through here. Stevenin's lunch time monologue about the impact of watching atrocity first hand is telling. However it's ideas that have been on the screen before, more forcefully.

This one is a great subject treated with seriousness rather than the authority it needs.