It's something to compare perhaps with Laurent Cantet's The Class, or Nicolas Philibert's On the Adamant, or Canadian film-maker Denis Côte's That Kind of Summer. Kahn's film is powerful and committed, although sometimes the acting comes close to shouty improv youth theatre.
It's something to compare perhaps with Laurent Cantet's The Class, or Nicolas Philibert's On the Adamant, or Canadian film-maker Denis Côte's That Kind of Summer.
Kahn's film is powerful and committed, although sometimes the acting comes close to shouty improv youth theatre.
The tone is of course one of compassion, combined with coolly detailed forensic scrutiny, though audiences might be intrigued at Kahn's use of Purcell's Funeral Sentences on the soundtrack, music notably...
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It's something to compare perhaps with Laurent Cantet's The Class, or Nicolas Philibert's On the Adamant, or Canadian film-maker Denis Côte's That Kind of Summer. Kahn's film is powerful and committed, although sometimes the acting comes close to shouty improv youth theatre. The tone is of course one of compassion, combined with coolly detailed forensic scrutiny, though audiences might be intrigued at Kahn's use of Purcell's Funeral Sentences on the soundtrack, music notably used by Kubrick in A Clockwork Orange, a film in which delinquent youth are treated more roughly.
Kahn himself plays one of the senior medical staff, part of the gallery of authority figures – doctors, nurses, orderlies, therapists and a nervous intern – who are almost as affected by the institutional drama as the troubled young people themselves.
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