I really wanted to show this moment when children are forced to leave childhood behind.
I also wanted to highlight this systemic violence that adults who are under pressure to achieve guidance results also experience. Their job is to help children find a form of fulfillment in what they do. I really wanted to show this moment when children are forced to leave childhood behind. There is a real natural drama that results from this, just with this deadline for the brevet that is fast approaching.
In this film, you offer a real space of confidence to these students so that they can express themselves freely. Why was this important for you?
We worked together quite a bit, we met every Tuesday around texts, choreographies and improvisations. It was a time of exchange and transmission. I built up trust with them until I noticed that they had things to say about what they were experiencing, about the system as they felt it. I had to give them this space to speak no matter what it took.
This fragility and authenticity that we feel in the film touches the audience
I was impressed by everything they were able to analyze and observe that had never been formulated before. In my opinion, there was an urgency to say, a need to hear them. And I still see it today with the first screenings we had with other young people who saw the film. This fragility and authenticity that we feel in the film touches the audience and allows us to open the discussion thanks to the openness of the speech of these young people in the 3rd year.
Château Rouge is also a documentary that criticizes the current taiwan phone number library school system. What are your grievances?
First, what I criticize about this system is this school determinism that reigns. We see in the documentary the daily commitment of the educational staff who are working to best support the students and who fight against this form of determinism which is one of the obstacles to learning. I find it unacceptable that these children cannot achieve the jobs they want to do. In addition, the life trajectories of each are not taken into account enough.
Children are also weakened by their paths some of which are full of knots
They are not given enough time. We are still far from having true equality of opportunity. Even if they find their way, they will have to overcome more obstacles than children from wealthy classes. I think it is time for schools to set up a system that can give young children the most open path possible in relation to their desires. Children experience their creating and managing sales funnels orientation as an inevitability and not a choice.
From your perspective as a director, what would be the solutions germany cell number to overcome the problems of the system?
From my point of view, I think we need to act on the issue of legitimacy. In the film, Léna, a brilliant student, wanted to become a lawyer. Except that she felt she couldn’t achieve that dream, even though she had the means. She ended up censoring herself and she went into hospitality. Afterwards, I also think that there are many professions that they don’t know about and we need to break down the barriers to discovering professions. Finally, the issue of trust, which I think is essential. Mamadou, one of the students in the film, explains at one point that he has so little self-confidence that he can’t be bothered to work. In my opinion, the school system is too normative.
