Être et avoir

Simply wonderfull is the only way for me to describe this film. No film is perfect, but this film comes awfully close! A beautifully shot film about school kids and their teacher in a French school in the Auvergne. I had the privilege to watch the film during the International Film Festival Rotterdam and hear the directors comments afterwards.

All children (appr. 20) ranging from age 4 to 12 (my guess) in one room with a teacher who really found his vocation in life. The school was chosen after visiting numerous schools in France. One of the main reasons, according to the director, for choosing this particular school was the fact that is had all children in 1 room and that room had ample space, which meant that no addional lighting was needed.

In the course of the film you get the feeling that the camera (and therefore us, the viewers) really gets invisible, allthough that was absolutely not the case. "The children behaved completely different when the camera was there". I didn't notice that. You really feel for them afterwards. This includes the teacher who is finishing his last year and will retire. One of the most touching moments for me was the last shot at the end of the school year when all the children leave for the last time and the teacher has a few emotional moments alone, realizing that this is the end, both for the children and himself. The moment is even more poignant when you realize that it is not acted, it is real...

Do not expect a high pace film with lots of drama and action. In the beginning I had a little difficulty with the pace of the film, which seems slow. Especially the "in-between shots" seem long, but after a while I got totally gripped in it and these shots really felt right. They got me down from my real-life fast pace (such as it is) and settled me down.

I could go on and on about what is so wonderfull about this film, but my advise: If you see one film this year, see this one !!

It's all been done before and looks so easy. Just get a group of cute little kids and a sympathetic adult prompter. Turn a hidden camera on them. Result - a sure-fire winner. And yet one is left with a nagging question - can it have been that easy when the result is something as impressive and beautifully formed as Nicolas Philibert's moving study of a village school in the Auvergne from winter through to summer? It opens with a stunning shot of cattle stoically moving about in a snow storm and continues with the progress of a school minibus as it collects young children from farms and hamlets to take them along snowy tracks to the warm security of a stone schoolhouse and their kindly and sympathetic village schoolmaster. He works alone, dividing his attention between children from four to eleven years of age and somehow succeeds miraculously in catering for their wide variety of needs. Shortly after their arrival I found a few doubts beginning to creep in on a first showing. Some of the interaction between master and pupils seemed to go on for an inordinate amount of time. When cinema adopts the role of recording the minutiae of the everyday without the discipline of the cutting scissors, as happens here when the very young children in turn write the word "Maman" and there is an inquest on each, does it not become a little like watching paint dry? And yet - if ever a film deserves patience in overcoming its initial longeurs, this is it. What these opening sequences achieve is to help us know these children as individuals and to become better acquainted with the schoolmaster as he gradually emerges as an almost saintly figure in the way he handles the problems of his charges, the two boys who fight, the girl about to go to secondary school who cannot relate to others, the boy who suddenly breaks down when he speaks of his father's illness and the tiny newcomer who cries for his mother. Such very special moments transcend what could have been an otherwise rather mundane experience; these and the sheer beauty with which the director and his cameraman record the passing of the seasons. The film concludes with the children saying goodbye to their teacher as they leave for their summer holiday. At this point I felt enriched by this brief insight into their lives. My tears were of gratitude for an experience that had touched me in so special a way.

Teaching is a gift, a talent and it can not be taught-sure, people can be taught at universities about the particulars of teaching but the guts of teaching is something that imbues an adult with the warmth of dealing with young people. Georges Lopez has that talent, that gift and this beautiful film allows adults to see what happens in something we all participate in but rarely have a chance to observe after we are adults.

I found the film to be mesmerizing with it's reflections on the beauty and innocence of childhood as well as the little insights into French rural life all held together with the "glue" provided by the teaching of Lopez with his powerful personality. The beauty of this personality and his extraordinary attitude towards the children in his care are the parts of this wonderfully warm documentary that linger with me after viewing the film.

A person feels so humbled after watching a master at work and we must question our society's values when a man of this talent can beaver away unknown in deep pockets in urban and rural settings under valued by our society while others with far less to contribute are valued to a degree beyond worth.

Named as one of the best films of 2002 in the Film Comment poll of 59 international film critics, To Be and To Have provides an insight into the learning process of thirteen children, ages 4 to 10, in a one-room schoolhouse during a seven-month period. The film is a tribute to the innocence of childhood and to the dedication of their teacher, 55-year old George Lopez. Director Nicolas Philibert selected Lopez' rural schoolhouse in the Auvergne region of southeast France from a list of 300 schools. As Philibert explained: "I wanted a school with a limited number of pupils so that each child would be easily identifiable and become a character in the film. I also wanted the fullest age range possible -- from kindergarten to the final year of primary school -- to show the atmosphere and charm of these small, eclectic communities and the very specific work required from the teachers."

Filming almost 600 hours of the children's daily activities with a crew of four, Philibert allows us to re-experience the long forgotten frustrations of learning how to trace letters, express our feelings verbally, count until we run out of numbers, and get along with our classmates. Mr. Lopez has taught in the same school for twenty year and has a unique ability to simply be with and respect children for who they are and what they say. He is a model of patience and an example of how to listen without making moral judgments or instant evaluations. He says of the teaching profession, "It takes time and personal involvement and the children return that again and again." Most of the children come from families who are not well educated but the film shows the parents struggling to do their best to solve the mysteries of their child's homework. To Be and To Have is also filled with humor as in a sequence when two very young students are fighting a losing battle with a photocopier and when a student insists on using the word "pal" instead of "friend". Much time is spent observing a pre-schooler named Jojo with a very typical attention span. He is endearing but I would have liked a bit more exploration of Katherine who we find out at the end has a serious problem in communicating.

Mr. Lopez works closely with each child, showing sensitivity in the way he handles problems as when he asks two fighting students to imagine the effect their behavior has on others. Time and again he mediates disputes by helping children to communicate with each other as in the scene where he assists two older boys, Julien and Olivier, in understanding the reasons they got into a fight. "You were just testing each other, but then it degenerated, no?" he asks. The film begins in December with footage of snow falling on a herd of cows and continues until the following Summer. By the end we have come to know many of the students. When the teacher announces he is going to retire in another year, the emotion on his face when the children plant kisses on his cheek as they say goodbye for their vacation was felt throughout the entire audience of 800 people. To Be and To Have celebrates the dedication of teachers whose unacknowledged labors make a profound difference in the lives of our children. A film of warmth and humanity, it is the highest grossing French documentary of all time. Job well done, Mr. Lopez and Mr. Phlibert.

I didnt want to go and see this film. seriously. I got dragged along to see it in London as part of my media studies course, and me and my friends were determiend to get out of seeing it, any way we possibly could, and go shopping instead.

needless to say, we didnt manage it, and I'm actually pretty glad.

this was one of the best documentaries I've ever seen. coming from a family where both my parents are teaching in the same age-range as mr Lopez, this film had a certain mirror-image quality for me, which made it hit even closer to home. Being British, some of tend to look a the French as an Alien species (sorry!) and seeing a French teacher in some of the same situations as my parents of faced was amazingly poignant.

the amount of time and Effort that Lopez put into his teaching was beautiful to behold. his compassion and cool manner makes me think that just about every school in the world can benefit from a teacher like him.

In criticism, however, I do beleive that the editing was used to make it appear that Lopez remained PERMANENTLY calm. I've been with teachers in a classroom situation, and even with a class that small, its impossiblwe to keep your cool all the time. I would have appreciated some scenes of Lopez having to deal with any anger he might have occasionally faced. it might have added even more humanity to his persoanlity, and although I empathises with him, the only pure emotion we see from him is at the end, when the tears in his eyes as his class leaves are painfully apparent.

9/10.