POLISSE follows a Child Protection Unit as it performs its daily duties in Paris
POLISSE (Maïwenn, 2011)
Thursday, April 19, SVA Theater, 9:30
Friday, April 20, Clearview Cinemas Chelsea, 9:30
Thursday, April 26, Clearview Cinemas Chelsea, 3:30
www.tribecafilm.com
Winner of the Jury Prize at the 2011 Cannes Film Festival and nominated for thirteen Césars, Polisse is an intimate portrait of the men and women who work in the Child Protection Unit of a Paris police precinct. After seeing a television documentary about the CPU, French writer-director-producer-actress Maïwenn (Le bal des actrices, Pardonnez-moi) spent time with the team, basing the screenplay, which she wrote with Emmanuelle Bercot, on her own experiences as well as the stories she heard while embedded with the plainclothes officers. Maïwenn plays a fictionalized version of herself in the film, starring as Mélissa, a young woman who has been embedded with the CPU, taking photographs of the unit in the station house, out on calls, and even in their off time. Polisse does a fabulous job depicting the myriad intricacies of investigating claims of child abuse and pedophilia, showing how careful the team must be when speaking with the children as well as the adults, knowing that the slightest misunderstanding could result in devastating circumstances. Maïwenn includes only bits and pieces of the interrogations, placing the audience in the position of wondering what the truth is and understanding how hard it is to make those decisions. The first half of Polisse is absolutely gripping, but the second half gets bogged down in the soap-opera relationships of the members of the unit as well as a special detail they get assigned to that makes little sense. The large cast, which also features Karin Viard, Joeystarr, Marina Foïs, Nicolas Duvauchelle, Karole Rocher, Frédéric Pierrot, Frédéric Pierrot, and Bercot as Sue Ellen, do a terrific job creating the camaraderie among the officers, from supporting one another to going out drinking to getting into serious arguments, like an extended family that, in this case, spends much of its time investigating dangerous problems in other families.
Writer-director Baltasar Kormákur’s adaptation of Arnaldur Indriðason’s award-winning novel Jar City (Myrin) is a bleak but compelling police procedural that focuses on a fact-based controversial government initiative that is cataloging genetic research on all Icelandic families. When an aging man named Holberg (Thorsteinn Gunnarsson) is murdered in his home, brooding inspector Erlendur (Ingvar E. Sigurdsson) heads the investigation into the death, leading him to a thirty-year-old rape, a dirty cop, a trio of criminals (one of whom has been missing for a quarter century), a woman who killed herself shortly after her four-year-old daughter died, and a doctor who collects body parts. The divorced Erlendur also has to deal with his troubled daughter (Augusta Eva Erlendsdottir), a pregnant drug addict who hangs out with some very sketchy company. Meanwhile, a mysterious man (Atli Rafn Sigurdarson) is up to something following the traumatic death of his young daughter. Kormakur weaves together the story line of the two fathers side by side — in the book, the unidentified man appears only near the conclusion, although who he is still remains a mystery for most of the film — centering on the complex relationship between parents and children and what gets passed down from generation to generation, both on the outside and the inside. Sigurdsson plays Erlendur with a cautious seriousness, the only humor coming from the way he treats his goofy partner, Sigurdur Oli (Bjorn Hlynur Haraldsson). Iceland’s entry for the 2007 Foreign-Language Oscar and winner of the Crystal Globe at the Karlovy Vary International Film Festival, Jar City is a dark, tense intellectual thriller. Indriðason has turned Erlendur into a continuing character in such follow-ups as Silence of the Grave and Voices; here’s hoping Kormákur and Sigurdsson do the same. Jar City will be screening on April 20 and 24 at the Film Society of Lincoln Center’s “Images from the Edge: Classic & Contemporary Icelandic Cinema” series, comprising nineteen works from Iceland ranging from Loftur Guðmundsson’s 1949 Between Mountain and Shore and Ævar Kvaran’s 1950 The Last Farm in the Valley to Árni Ásgeirsson’s 2010 Undercurrent and Hafsteinn Gunnar Sigurðsson’s 2011 Either Way, with the directors present for many of the screenings, including Kormákur following the 6:15 showing of Jar City on April 20.
