In the opening shots of Ladj Ly's Les Miserables, the audience is thrust into the streets of Paris. French flags wave, people shout, and music blasts as thousands celebrate France's world cup victory. In an energetic montage, real footage of the victory parade is interspersed with shots of Issa, a pivotal character.
Throughout the film, Ly maintains this cinema vérité style, creating a gripping sense of realism. The first "narrative scene" introduces Stephane Ruiz, our protagonist. As he arrives in Montfermeil, cinematographer Julien Poupard establishes the visual style of the film. A handheld camera follows Stephane, panning back and forth as he moves. Poupard's cinematography takes advantage of natural lighting, seemingly never relying on studio lights. The film's coloring isn't flattering, bringing out the ugly orange tones of the buildings. These choices strip the film of its fictional quality, instead challenging the viewer to observe the reality of France's banlieues.
As the SCU's car drives through Montfermeil, a group of young men loiters on the side of the street, glaring at the officers. They stare right into the camera, breaking the third wall and directly challenging the viewer. This immersive experience puts us into the car with Stephane, creating an unsettling sense of tension. Ly constantly challenges the notion of what a traditional narrative film should be, whether it be by breaking the third wall, choosing unbalanced compositions, or breaking the 180-degree rule. As a result, the audience feels that they're watching real-life in Montfermeil unfold, not that they're sitting in their homes watching a movie.
A critical component of Ly's portrayal of Montfermeil is the cast, namely Issa and his friends. Their wardrobes, mannerisms, and foul language contribute to an aggressive sense of realism. According to an NPR article, Issa Perica (who plays his namesake in the movie) and the other teen actors grew up in rough neighborhoods like Montfermeil themselves. This casting choice breathes an unparalleled degree of authenticity into their performances and characters. In fact, many of the actors were making their debuts, leaving their performances unfiltered and unrefined.
Around twenty minutes into the film, we're introduced to the character of Buzz, played by Al-Hassan Ly. He flies his drones around the neighborhood, spying on his neighbors, and later recording the SCU shooting Issa with a flash ball. The first time his drone takes off, the film cuts to the perspective of the drone, seemingly using the drone footage itself. This perspective is used throughout the film, suggesting that all of the aerial shots are piloted by Buzz, not the cinematographer or a drone pilot. The inclusion of this drone footage in the film reflects the usage of primary source footage in cinema vérité documentaries like American Factory and Adventures On the New Frontier.
However, around eighty minutes into the film, Ly breaks this documentary style. Sebastian meets Gwada at a bar, and for seemingly the first time in the entire movie, the scene is shot on a tripod. Unlike the quick pans, zooms, and tracking shots employed throughout the film, this scene is shot like a traditional conversation. The scene is a temporary escape from the breakneck pacing of the film, giving us a moment to think about what just happened and empathize with the characters. By slowing down the pace for a few minutes, Ly allows the audience to breathe, lulling them into a false sense of security before the shocking climax.
By blending documentary styles with a fictional story, Ly is able to weave a hyperrealistic narrative. Equal parts Vice documentary and Safdie brothers film, Les Miserables creates nail-biting tension with severe racial, social, and economic undertones. As Ly says, "That's why the film has had such an impact. People may not want to see certain parts of this film, but I'm going to make you see what real life looks like in this neighborhood."
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