The actress embodies an ambiguous character with genius, inspired by the history of the Maureen Kearney alert launcher.
By Murielle Joudet
There are two films in the trade unionist. The first is a film-dossier that adapts the book by journalist Caroline Michel-Aguirre (the trade unionist, Stock, 2019), an investigation in the drama experienced by Maureen Kearney, alert launcher and Pugnace delegated CFDT of Areva. On December 17, 2012, Kearney was found tied up in the basement of his house, a knife handle driven into the vagina and a “A” cut on his belly. That day, she had an appointment with François Hollande: it has been months since the union official was trying to alert the press and the government to a secret contract between Areva and China. An alliance that would sell French know -how to Chinese power and jeopardize tens of thousands of jobs – History has proven him right.
Noises of corridors, intestine struggles, go to an informant, interviews in the high -placed figure offices … It is this small political theater – preceding and prepares the aggression of Maureen Keaney – that has fun Reconstitute Jean-Paul Salomé. A human comedy in white collars which provides a certain pleasure, that of seeing actors slip into the costumes of existing figures: Yvan Attal in Luc Oursel, Chairman of the Management Board of Areva and member of his Executive Committee from 2011 to 2014; Christophe Paou in Arnaud Montebourg, appointed Minister of Productive Recovery in May 2012; Marina Foïs in Anne Lauvergeon, then freshly landed from the management of the group. However, this first part is missing from going to the irony of a Chabrol, a fluidity of the staging that would lighten the weight of the reconstruction. Jean-Paul Salomé seems to be mired in his implementation, a little exceeded in front of so many interactions, characters and events to orchestrate. 2>
patriarchal violence
Above all, this first part is only an appetizer for the second film which is reached with the aggression of Maureen, a real black hole in which the police investigation rushes. Inspectors note a series of inconsistencies in the testimony of the unionist and suspect that she has fomented her assault. It is then that the film rocks, passes from the hands of Jean-Paul Salomé to those of her actress, Isabelle Huppert, genius undeniable when it comes to engaging in undecidable areas, to carry the incandescent ambiguity . Guilty or victim? It was the question of Maureen Keaney, and it has always been that of Isabelle Huppert, never as much as when a film tries to know what is in her head and comes up against her spectral opacity.
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