La journée de la jupe

It's well made from a technical standpoint, and in regards to all those facets contributed from behind the scenes that are often taken for granted. Be that as it may, there are two aspects of importance to this film. The first is the acting. Everyone in the cast gives a strong, highly admirable performance of earnest range, nuance, physicality, personality, and emotional depth, and the acting is unquestionably the highlight of the feature. Denis Podalydès, Sonia Amori, Yann Ebonge, Sarah Douali, and Khalid Berkouz all stand out among others - though by far, certainly Isabelle Adjani is the real star, and proves her skill once again. It's no wonder she won yet another César award for her portrayal of beleaguered teacher Sonia Bergerac; if her turn here is any lesser in comparison to her acting elsewhere, it's only because 'Possession,' for example, was a truly once in a lifetime tour de force. Though I've yet to personally see everything Adjani has been in, I can't wait to explore more of her oeuvre, and if I have the chance I'd love to see more from her co-stars, too. More than anything else, the value of 'La journée de la jupe' is in the strength of the ensemble, and it's worth watching just for them.

However, I did say there are two aspects of importance here. The second is the script. The premise is simple: a teacher, pushed to the absolute limit by a classroom she can't control, finds herself in possession of a handgun and events rapidly spiral out. I deeply appreciate what writer and director Jean-Paul Lilienfeld tried to weave into his screenplay; the feature plays with crucial big ideas worth dissecting. The problem is that there are too many big ideas for this one picture, and the narrative gets bogged down as a result. Herein are we treated to notions of racism, misogyny, violence against women, toxic masculinity, posturing, sexual assault, victim-blaming, religious persecution, hypocrisy, feminism, misinterpretation of stated ideals or proposals (deliberate or otherwise), gun violence and gun control, bureaucracy, public education, accountability, law enforcement and crisis management, immigration, latent tensions within communities, scapegoating - and much, much more. All these are topics worthy of examination and discussion. All these are topics ripe for utilization in storytelling. That this movie wants to say something about all of them is overwhelming, both for the viewer and for the movie; like a school student whose class presentation struggles with all the thoughts they want to mention surrounding a single subject (we've all been there), the result is that none of these topics are given the treatment they deserve, and 'La journée de la jupe' feels unfocused and a little floundering as a result.

As one last unfortunate impression to be left on us, the final scene is simply heavy-handed to the point of being a tad gawky rather than meaningful.

It's not a bad film. It's a good film, in fact. Lilienfeld's direction is solid, the effects and stunts are well done, and the production design is great. I like the music, even if it feels a smidgen ill-fitting in the last stretch. Everything looks and sounds good, and once more, the chief reason to watch is by far the tremendous acting. It's just regrettable that Lilienfeld's reach exceeded his grasp when it came to the writing. I can only commend the ambition and intent, and for what it's worth the characterizations are a treasure trove, but I think the screenplay and the realization thereof would have benefited if some of the many concepts broached herein were dropped so as to tighten and center the story. True, perhaps that unwieldy assemblage is appropriate in some off-kilter way, just as Sonia finds herself in an unmanageable situation with too many points that could be raised. That the character's dilemma sort of becomes the feature's, well, there's the rub. I think 'La journée de la jupe' is worth watching if one comes across it, overwhelmingly for the cast alone, and specifically but not exclusively Adjani. If you're looking for a precise, thoughtful drama of social issues, however - or even just a good, well-rounded movie generally - I'm just not sure that this is going to be the title to satisfy.

I suspect every teacher has wondered if she/he be able to get the kids attention by pointing a gun at them. Having spent some time teaching I can really emphasize with Sonia Bergerac in this film. I loved the part where she starts to actually teach the lesson on Moliere and uses the gun to force an unruly student to cooperate. Of course real education can't function like that, but its probably a fantasy of many teachers.

The film contains quite a bit of irony, and random chaos. I don't wish to give away too much of the story, other than to say taking the students hostage was accidental, and once she had started she was completely unable to figure out how to get out of the situation. The film has a very claustrophobic feel to it. They are trapped in a small little drama while outside larger dramas unfold including political issues, debates about how the crisis should be handed by the police, dispute between cultures, and sexual exploitation of some students. But Sonia and her class are locked within a small sound proof room.

Isabelle Adjani once again demonstrates that she is a extraordinary actress who is entirely convincing in her role. Vulnerable at times, and scary in the next moment.

The film has comic moments such as her demand for a national skirt day, but is largely dramatic and tragic in its tone. The film explores the clash of cultures, prejudice, and the real meaning of sexual liberation.

excerpt, more at my location - Jean-Paul Lilienfeld has certainly ensured his new film Skirt Day will be talked about. Not only is it set in the hotbed of social issues that is Paris' outer regions, it also sees the return after a five year big-screen hiatus of Isabelle Adjani, one of the most celebrated actresses in the history of French cinema. Lilienfeld's film takes place in a lower class high school, and deals with some of the biggest issues of the day such as race, class and the French education system.

Full of emotion, hostility and dark humour, Skirt Day provides heart- pounding drama and astute social commentary in equal doses. All of this is capped off with a scintillating performance from Isabelle Adjani, who really does teach a lesson to any aspiring actresses.

This is a very touching story, very well done on all levels. A high school theater teacher, suffers from the impolite attitude of her students, and their continuous disrespect. She finds herself with a gun she found with one of her students, and ends up with half of her class as hostages. Here starts the complexed relation between people there. A very important thing that you should know, is the estate of Arab people living in France, their social phobia, and their lack of integration, that led to very big issues lately. That's what this movie talks about. With a great scenario, full of surprises and unexpected events, Lilienfeld makes an emotional social thriller, discussing rights of women, immigrants, Muslims, teachers, respect, pedagogy... Adjani is great in this part, i see she deserves her Cesar, as for the entire cast, especially the teenagers, very convincing. Some "committed thriller movie" is not something we see everyday, so do not miss this good one!

Set in a teacher's worst nightmare: the unruly inner city high school, "Skirt Day" centers on the most likely teacher to trigger the defiance of students: a bourgeois European woman.

The film opens with a group of tough adolescents from minor ities, and an attentive eye will notice beyond the profanities that punctuate their exchanges that boys and girls walk separately. In these schools, boys have a one-dimensional way to label too promiscuous girls, which doesn't make girls less 'nuanced' than their masculine counterparts...

From this early sociological scanning, as a teacher myself, I felt I was in familiar territory. When Sonia Bergerac (the teacher played by Isabelle Adjani) shouted that it was 8:20 and they were late, the way the local joker (there's always one!) said "no, it's 19" was a spot-on on the level of lousy humor we have to endure on a daily basis. The film effectively captures the inconvenient and politically incorrect truths about these suburban schools but it's for small details like this one that the realism succeeds.

Then Sonia struggles to climb up the stairs, looking like she's dressed for a Champs-Elysees gala and her skirt hardly gets unnoticed by the boys. There's a level of sexual tension preceding the theater session in a sound-proof class (a vital plot element) and the coming aggravation is so obvious we just wait for the moment Sonia will reach her breaking point.

Meanwhile, a brief exposition allows us to have a glimpse on the students' profiles: you have the loudmouth girl, the secretive one, the silent kid whose black eye betrays his status as the local punching ball, you have the two delinquents: Mouss, a b.lack kid and Seb, his red-haired buddy and in that grenade-like atmosphere, poor Sonia who makes it a point of honor to teach them Molière. Such dedication is as admirable as the preposterousness to believe they would care.

Watching her trying to teach about the man who gave him his name to the very language they keep violating struck me as one of these lost causes the educational system mandates us to commit and the tension and confusion grow so rapidly that the gun that pops from Mouss' bag becomes a defensive weapon for Sonia before she turns it back to the owner. And chaos ensues. I guess if a film tells the story of a teacher who turns her classroom into hostages, it's better not to have her having premeditated the act and so she is just a victim of circumstances, realizing that with the gun on her hand, she finally earned the one thing she never could get with her students: attention, if not respect.

The gun becomes her own microphone and through it, she'll shout a number of improvised revendications to the Raid squad, including the establishment of a national "Skirt Day" where woman and girls will wear a skirt to stand against mis.ogyny. At that point, it's sad to observe that some environments are so hostile toward woman that it takes a gun to empower them, but the ends justify the means.

On the paper, this is one of hell of a promise that director Jean-Paul Lillienfeld manages to pull with enough competence to make the film a little close to "Dog Day Afternoon' with the same social commentary as the Golden Palm Winner "Entre les Murs". I thoroughly enjoyed the film because somehow in the way Bergerac addressed her students: mocking their manners, their mis.ogyny and the way they can't align sentences without using profanity, there's a teacher-fantasy behind.

Isabelle Adjani who won the Best Actress César for her performance displays a range of emotions that pans over anger, bewilderment and fits of madness that only someone put in similar situations can understand. I've never felt Adjani overacted because you can't master your emotions with a turbulent youth that acts over-the-top, however I wish the film would have allowed a few quieter moments here and there.

I have a hunch that Lillienfeld was so eager to tick many cases that he needed to insert more subplots than needed. I liked his idea of providing a backstory to the negotiator (Denis Polydades) and make him a well-meaning schmuck under hierarchical pressure from his superior (Yann Collette) to Nathalie Besançon who plays the Minister of Interior with a firm grip. Then "Skirt Day" tries to expand to other territories while maintaining its own grip on the educational system: the principal (a tad too comedic Jackie Berroyer) deplores that his hands are tied by the Ministry and his school is either a "dump" for bad students or a provider for other dumps, parents insist that their children are saints and other teachers pathetically fraternize with the students by playing it cool, going as far as incriminating Sonia, who seems to have a prejudice against some communities.

While precious to the film, these aspects force Lillenfeld to jump back and forth between the inside and outside, making the hostage situation a series of vignettes without a palpable fluidity, it's one angry episode after another. The characters are not caricatures but some situations are because we're not given time to try to approach the characters as human beings but just archetypes caught in a web of confusion and so there's a dangerous element of predictability that Lillienfeld seems particularly aware of.

I suspect that he tries to counteract it with the deliberately misleading opening shot and then with the late twist about Bergerac's identity, just like Sonny in "Dog Day Afternoon", in a way it reveals more interesting depths about her character but the way it's just thrown like without being further exploited seems a bit gratuitous. "Skirt Day" has guts and heart and humor but it lacks some good thirty minutes that could defuse tension and allow us to know or at least understand the protagonists a little more...