O Dia da Saia

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.

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!

A mix of "Entre les Murs" ("The Class"), Michael Douglas' "Falling down" and maybe "Negotiator" (2008), this gripping even if unlikely film stars Isabelle Adjani, showing she's a great actress, and Denis Podalydès as "Brigadier Labouret" , who doesn't have to show anything, as a cop with problems at home.

Everybody has an antagonist in life, his Salieri. In this case, our brigadier has Bechet, who wants swift action, "shoot first, think later", style. Labouret, maybe because he knows from experience how things can quickly get out of control, tries to help our beautiful heroine, Sonia Bergerac, a literature teacher in an underprivileged state high school. Isabelle Adjani being born outside France, it's clear why she chose to star this film, and some of her monologues when she's not out of control are of course her "message", like when she tries to educate her unruly pupils about the value of education, how they owe it to their struggling immigrant parents to achieve something for all they've left behind, and how life isn't that tough for students like them, but it's ruthless for those (foreigners) who don't.

The State is represented by Nathalie Besançon, (also playing a classy chief at TV series "Enquêtes réservées") always beautiful, but easily misled, and the school principal "Cauvin", a bureaucrat, like all of his kind, trying to save his skin above everything else.

This film will keep you glued to your seat, it would be a disaster on a lesser actress than Adjani. Unpredictable, out of control, "like an actor who has lost his plot" as others have written. My gripes are two: I would have liked a bit more of screen time to "Mouss", the violent bully, and his pal. What makes them be as they are? The same for the female pupils, or should I say victims, Farida and specially Nawel, Nathalie's unlikely ally, also with issues of her own. I also didn't believe in the feminist issues, like the film's title for instance, or Sonia's lecturing on how males and females differ in terms of attitudes towards them when they have sex. For a sophisticated Moliere teacher, I think this sounds too like pop psychology. I mean, is that her "reivindication" for the media, what Labouret asks her, doggedly, and mistakenly of course?

This is also a film that will keep you thinking. What would you do to engage this troubled, rowdy teens if you had to teach them anything? How do you think they'll fare in life? Farid wanting to keep his bonnett is just an example of a bigger issue. Is laicisim just a fancy word with a bunch of violent kids who want to be footballers, read People magazine and participate in TV shows? Sonia, no cultural relativist, (notice her surname, with heavy literary significance) pokes fun at her pupils's lack of intellectual ambitions, in a very "grand actor's" way. She starts by trying to give them the class she never could deliver. Like making them memorize the real and fake name of Moliere, etc. But later, she finally makes them participate in a sort of "Big brother" contest, among themselves, just showing she's beginning to engage the pupils using their codes and language, understanding the limits of XIX century "classical" education, specially to XXI century "fragmented" / postmodern pupils!

The use of classical music (Mozart) to highlight the contrast between it, the "traditional culture" and the "all to modern" world in which our teacher fights is a resource that has been used before, but is effective, nevertheless.

There are two IMDb reviews you might like to check: "ck_104 from Lebanon" called this film a "committed/ social thriller", I think you can't expect a better one. And "herve naudet", himself a pupil like the ones we see at this tough film, who writes that Adjani lives her parts, and plays with her guts. I agree with "nyc host" from France that: "this film is more to-the-point than the very flat and bland take of the last Palmes d'Or 'Entre les Murs' ". And probably with ghibliii from United Kingdom here: (Adjani) "looks way too luxurious and sophisticated for the social milieu"

Nevertheless, it's a very good film by actor and director Jean-Paul Lilienfeld. I'm looking forward to watching more films directed by him. My favourite scene is of course her monologue with red lighting, in the beginning of the film and then later, you'll understand why.

Enjoy and think about it!

PS: Not because it's obvious it's less true: Adjani is stunning in her classy white tailleur and boots with high heels. Angel's face, really. Life's unfair :).

i am french from pied noir origin. i am definitely touch by this movie. While some peoples might think, the film deals with too many different issues at once.first .Isabelle Adjanie, as usual, play with her tripe's, she play for her life, in this role of a french teacher, who lost the plot. we might think, as some reviews have express, there are concentrating on too many issues, but being from a french mother and Algerian father pied noir, i growth up in the city , as we call it in France, i growth up in the city, and when to a very similar school then the movie, the reason, this really strike a chord. the fact is, yes i did get racketed it, beating up, yes, peoples might choose to ignore or brush the issues the movies address, but i, who has been in the same city school, can assure the public, this movie strike a cord, simply due to the fact i have live every issues, ( except for the rape) address in the movie. this is a very honest and blunt account of what is going on in the poorest city state school! and yes i was in this type of school back in early 80's and the same problem were already present, one would have think, things would have improve, but sadly, today, my brother and my cousin being teacher, i can assure you, they will confirm, the situation did not get better but WORSE! Isabelle Adjanie doesn't act often, it was 6 years since she had made a movie, but Christ, when she take a role, she does not act, she live her part, like there is no tomorrow! With Camille Claudel, this movie top up the very long and incredible journey of an actress, who is probably the best actress we have in France.