Jacques Doillon’s honest and brutal portrayal of a damaged childhood is explored with his newest film CE2 (Third Grade), presented in the Big Screen Competition of the 2022 International Film Festival Rotterdam.
With a selection of over 100+ films, this year’s International Film Festival Rotterdam (IFFR) featured a large variety of works, across its different sections: whether it be retrospectives of filmmakers you may have never heard of (Cinema Regained section), the young exciting voices of up-and-coming filmmakers (Bright Future section), or the competition sections (Tiger and Ammodo Short Tiger Competition). Another section is called Big Screen Competition, a diverse competition bridging the gap between popular, classic and art house cinema, in which we spotted CE2 (Third Grade).
Jacques Doillon, a major blind spot in my movie watching experience (Rodin which put me off on his filmography), presented his new film CE2 (Third Grade), where I was pleasantly surprised by his direction of children directing, which had me investigate and excited to venture of his past films such as Ponnette and The Little Gangster. I believe this is what film festivals and venturing into unexpected films are for, to find new discoveries that unlock a new discovery for oneself. In Third Grade, we are looking into the life of Claire and her experience as the victim of bullying by classmate, Kevin. The film explores the many dynamics and causes of bullying and sympathy, in which using the two child actors in two relentless performances.
With a cinema verité style filmmaking observing the children’s care-free and adaptable view through many handheld shots, the world is dealt with a realistic lens. Claire and Kevin’s background are deeply influenced and obviously mirror of their parents. With Claire, a father out of the picture temporarily due to his military services leaving a mother (played by the great Nora Hamzawi, who should be more well-known), is often displaying courage and empathetic views. Kevin, a child of divorce and troubled parents, comes off as juvenile and future product of danger due to his assaults (slapping and playing with her skirt) towards Claire. When the two reconcile in a not so convincing way, the two create a bond where Doillon’s writing/directing is at its strongest. Although children are an easy target to gain sympathy, Claire and Kevin demonstrate and showcase adult situation awareness that creates a depth to the two children. The two’s keen friendship shows the bond that children hold and can only understand, which Doillon’s intimate portrait of their Third Grade, produces a touching, poignant story.
