O Dia da Saia

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.

Isabelle Adjani's face is immobile most of the time...too much botox? she looks young but not quite herself. and her hairstyle covers her face. I get she is middle school teacher, but couldn't they get her a better outfit, skirt. It looked like something at old navy in the bargin bin, and that white jacker. Ok she's older, isn't as thin, still. Her character is kin dof in an altered state- so the blank immobile face fits- but still.... Interesting on some levels, not the worse I've seen. Tries to cover a sensitive subject, racism, lack of hope or reach by marginalized French Muslim, lower class, rape. But are the French cops that stupid. I didn't like the end. O.K., we are not supposed to like the end. Trying to make us uncomfortable, but I think more trying to sensationalize the film. Maybe bec it tried to say something I gave it a week 6 (3 out of 5) & not lower.

Comedy turning into drama. The teacher confiscate a gun of a student and uses it to get them under control, until things go out of control. Not as bad as USA shootings though.

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...

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 :).