Entre les murs / Die Klasse (2008)

Synopsis:

Une année de la vie d’une classe de 4e dans un collège dit difficile vue à travers les yeux de François, un jeune professeur de français qui aime aller chercher ses élèves là où ça fait mal pour les stimuler. Palme d’or 2008. (Télérama; 10.10.2009)

Synopsis:

Ein Jahr Klassenleben einer 9. Klasse einer sogenannten Problemschule, gesehen durch die Augen François’, einem jungen Französischlehrer, der es mag, dort zu sticheln, wo es bei seinen Schülern weh tut, aber um sie anzuspornen. Goldene Palme 2008 in Cannes.

Plus d’infos sur le film / Mehr Infos zum Film: IMDB – The Internet Movie Database

Bande annonce „Entre les murs“



Trailer – Die Klasse

___________________________________________________________________________________________

Presse française/Französische Presse

[…] La chronique d’une classe de quatrième le temps d’une année scolaire. C’était la règle que s’était fixée François Bégaudeau, dans son livre. Laurent Cantet la maintient. Face aux élèves qui « vannent » sans arrêt, François a fort à faire. Il lui arrive de tâtonner, mais il ne se laisse pas démonter et prend même un malin plaisir à contre-attaquer. Il possède une qualité ­indéniable : il incite à parler, il la joue collectif, pour filer la métaphore footballistique. D’où le feu d’arti­fice de la langue, parlée surtout, avec tous ses rythmes et mixages possibles (verlan, arabe, dialecte, etc.). […] (Télérama; 10.10.2009)

[…] Die Chronik einer neunten Klasse über den Zeitraum eines Schuljahres. Diese Vorgaben hatte sich François Bégaudeau in seinem Buch selbst gegeben. Laurent Cantet erfüllt sie ebenfalls. Gegenüber ununterbrochen erschöpften Schülern hat François alle Hände voll zu tun. Manchmal muss er sich ausprobierend vorantasten, lässt sich jedoch nicht aus der Fassung bringen und hat sogar Spaß daran, zu Gegenschlägen auszuholen. Nicht von der Hand zu weisen, ist seine Stärke, die Schüler zum Sprechen zu animieren, ein Teamspiel zu gestalten, um hier mal eine Formulierung aus dem Sportbereich einzuwerfen. Daher das Sprach-Feuerwerk, der gesprochenen Sprache vor allem, mit allen möglichen Ton- und Rhythmuseinfärbungen aus Jugendsprache, Arabisch und Dialekten. […]

—–

« Entre les murs » d’une salle de classe

[…] Cantet et Bégaudeau font travailler à plein les contradictions de l’école en France : le souci de ne pas exclure et la volonté de maintenir la discipline ; la reconnaissance de la diversité et l’enseignement d’une culture unique… […] (Le Monde; 24.05.2008)

Im Innern eines Klassenraums

[…] Cantet und Bégaudeau stellen die Widersprüche von Schule in Frankreich vollständig dar: das Bemühen, nicht auszugrenzen und der Wille, Disziplin beizubehalten, die Anerkennung von Unterschiedlichkeit und das Unterrichten einer einheitlichen Kultur… […]

—–

Entre les murs, l’école

[…] Car « Entre les murs » n’est pas un film d’apprentissage, c’est un constat d’échec, le film du refus. « Avant même de maîtriser un savoir, vous êtes déjà en train de me dire que ça ne sert à rien. Commencez par le maîtriser et après vous pourrez remettre en cause le fait qu’on l’utilise. » […]

Avec ce quatrième film, Laurent Cantet, réalisateur un brin surestimé de L’Emploi du temps ou de Ressources humaines, décide de montrer l’école « non pas telle qu’elle devrait être mais telle qu’elle est au quotidien », avec un dispositif à trois caméras DV : une sur son acteur principal, François Bégaudeau, ancien prof et auteur du bouquin dont est tiré le film, une autre sur les élèves, la dernière pour capter les imprévus, les moments de grâce ? […]

On comprend bien que l’on est dans un film qui veut faire avancer le débat, mais il manque un peu de cinéma (comme dans le Jaoui, désolé de remettre ça les gars !) et de dramaturgie. […]

Bref, le naturalisme de Cantet fait toc : la pseudo-dignité de la mère africaine en boubou qui se lève en disant « Au revoir messieurs-dames », les répliques des profs… Même s’il a décroché la première Palme depuis « Sous le soleil de Satan », Cantet n’est pas Pialat. (Bakchich.info; 22.01.2009)

Zwischen den Wänden, die Schule

[…] Denn Die Klasse ist kein Lehrstück, es ist eine Abrechnung, Film der Verweigerung. „Noch bevor ihr euch Wissen angeeignet habt, seid ihr dabei, mir zu erzählen, dass es euch nicht nützlich sein wird. Eignet es euch erst an und stellt dann in Frage, ob es euch hilfreich ist oder nicht.“ […]

Mit diesem vierten Film beschließt Cantet, der ein wenig überbewertete Regisseur von Auszeit und Ressources humaines, Schule so zu zeigen, „nicht, wie sie sein sollte, sondern wie sie tagtäglich ist.“ ausgestattet mit 3 DV Kameras: eine auf den Hauptdarsteller François Bégaudeau, ehemaliger Lehrer und Autor des für den Film als Vorlage dienendes Buch, gerichtet, eine weitere auf die Schüler, und die dritte um die unerwarteten Situationen einzufangen, mögliche Sternstunden? […]

Man zeigt sich einsichtig, dass man in einem Film ist, der die Debatte vorantreiben will, aber es fehlt ihm an Kinoerlebnis (wie bei Jaouis Filmen; Sorry Leute, dass dies hier wieder erwähnt wird!) und an Dramaturgischem. […]

Kurzum, Cantets naturalistischer Stil ist Gelumpes: die Scheinwürde der afrikanischen Mutter in traditionellem Gewand, die „Auf Widersehen meine Damen und Herren“ sagend sich erhebt, die Antworten der Lehrer… Auch wenn er seit Unter der Sonne Satans die erste Goldene Palme abgestaubt hat, Cantet ist einfach nicht Pialat. (1)

Anmerkungen:
(1): Pialat: Französischer Regisseur (1925-2003), der für „Die Sonne Satans“ 1987 die Goldene Palme erhielt

—–

Deutsche Presse/Presse allemande

Provokationen und Respekt

Der Film zeigt die SchülerInnen als aufgeweckte, spannungsgeladene junge Erwachsene – ihr migrantisches Elternhaus ist dabei ein wichtiger Faktor, aber es bestimmt nicht ihre Identität insgesamt. Cantet widersetzt sich jeder Festlegung der ProtagonistInnen auf die Masterzuschreibung Migrantenkids. So erzählt der Film vom ganz normalen Wahnsinn, der im Klassenzimmer abläuft, von der Hilflosigkeit auf allen Seiten und von dem Ehrgeiz, sich von dem Elend nicht fertigmachen zu lassen. Auch der findet sich auf allen Seiten. […] (Taz; 15.01.2009)

Provocations et respect

[…] Le film montre les élèves comme des jeunes adultes, curieux et impétueux – leur statut d’enfant issus de l’immigration joue un rôle important mais ne détermine pas leurs identité dans l’ensemble. Cantet refuse d’attribuer à tous ses protagonistes l’étiquette «jeune immigré ». Ainsi le film raconte la folie ordinaire qui se déroule entre les murs d’une salle de classe, de l’impuissance de tous les partis impliqués et de l’aspiration à ne pas se laisser avoir par la misère. Cet orgueil se retrouve également chez tous les partis. […]

—–

[…] Herausgekommen ist dabei Erstaunliches: Schief im Stuhl hängend, unaufhörlich im Banlieue-geprägten Jugendslang schwatzend, unruhig, laut und ungestüm – die Schüler wirken in ihren Rollen authentisch bis ins kleinste Detail. Und auch die Lehrer überzeugen entweder mit glaubwürdiger studienratsgemäßer Weltfremdheit, tiefster Resignation oder – wie der vorzüglich als einziger sich selbst spielende François Bégaudeau – mit einer energischen Mischung aus produktivem Machertum und hilflosem Draufgängergehabe. […]

Die Klasse dreht sich vor allem um das Problem der Sprache, als Mittel sowohl der Wissensvermittlung als auch der Verständigung. Im Gegensatz zu Abdellatif Kéchiches L’Esquive (2004), in dem eine Handvoll Schüler ebenfalls ihr Ausdrucksvermögen ausloten und ein Sprachfeuerwerk aus Jugendslang und dem Französisch des Dramatikers Marivaux entzünden, konzentriert sich Cantet allein auf die alltäglichen Störungen im Umgang mit Sprache im Hier und Jetzt. […] (Critic.de; 02.11.2008)

[…] Le résultat de tout cela est surprenant : avachis sur leur chaise, bavardant sans cesse dans l’argot des jeunes, bruyant, agités, impétueux – les élèves sont authentiques jusque dans les moindres détails. De même, les professeurs qui convainquent de façon crédible tout aussi bien dans leur décalage d’agrégés, dans une résignation profonde ou bien – comme François Bégaudeau s’incarnant lui-même de manière formidable – dans un mélange énergique entre homme d’action productif et fonceur activiste et impuissant. […]

Entre les murs porte essentiellement sur le problème de la langue comme moyen de transmission du savoir et comme moyen d’entente. Contrairement au film L’esquive (2004) d’Abdellatif Kéchiche dans lequel une poignée d’élèves sondaient également leurs capacité d’expression et déclenchaient un feu d’artifice entre la langue parlée des jeunes et le français de Marivaux, Cantet se focalise sur le mauvais emploi quotidien de la langue, ici et maintenant. […]

—–

Zwischen Mauern

[…] Der Raum, in dem sich hier alles entscheidet, ist die Sprache der europäischen Aufklärung, die vornehme Herkunft der Unterrichtssprache liegt den ganzen Film über in der nervösen Luft. „Woher weiß man, wie man schreibt und wie man redet?“ Eine Schülerin will wissen, woher die Idee komme, es gebe Anlässe, den Konjunktiv des Imperfekt zu bilden und anzuwenden, das hat sie noch nie gehört. So spricht keiner! Man weiß es durch Intuition, sagt der Lehrer, was ist Intuition, lautet die Rückfrage, das ist ein Gefühl, sagt François, er weiß, jetzt verstolpert er sich, und prompt bekommt ers zurück: „Und wenn man nichts fühlt?“. […] (Zeit; 15.01.2009)

Entre des murs

[…] L’espace dans lequel tout sera décidé est celui de la langue des Lumières, l’origine élitiste de la langue de l’enseignement se ressent tout au long du film dans l’ambiance tendue de la classe. « D’où sait-on comment écrire et parler correctement ? ». Une élève veut savoir d’où vient l’idée qu’il y aurait des occasions de former et d’utiliser l’imparfait du subjonctif. Elle n’en a jamais entendu parler. Personne ne parle ainsi. On le sait par intuition, lui répond le professeur. Demande de précisions : Qu’est-ce que l’intuition ? C’est un sentiment, dit François sentant l’embuche alors que la réponse jaillit immédiatement : « et si on ne ressent rien ? » […]


Denkanstöße / Pistes de réflexion

Inwiefern kritisiert der Film das bestehende Schulsystem in Frankreich und die schwierige Situation von Schülern mit Migrationshintergrund? Bleibt nicht letztendlich das Bild, dass es von der Motivation jedes einzelnen Schülers abhängt, ob er einen Schulabschluss schafft oder nicht?

Hätten Journalisten der deutschen Presse den Film als Anlass nehmen können, die bildungspolitische Situation in Deutschland zu kritisieren?
————

Dans quelle mesure, le fime dénonce-t-il le système scolaire en France et la situation difficile des élèves issus de l’immigration? Finalement, ne donne-t-il pas l’idée de la responsabilité de chaque élève pour son succès scolaire?

Est-ce que la presse allemande aurait pu saisir ce film pour critiquer la politique d’éducation allemande?

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