{"id":578,"date":"2019-07-20T23:04:47","date_gmt":"2019-07-20T21:04:47","guid":{"rendered":"http:\/\/cineclubbedarieux.fr\/?p=578"},"modified":"2025-08-25T18:51:49","modified_gmt":"2025-08-25T16:51:49","slug":"samedi-16-nov-17h-its-a-free-world","status":"publish","type":"post","link":"https:\/\/cineclubbedarieux.fr\/index.php\/2019\/07\/20\/samedi-16-nov-17h-its-a-free-world\/","title":{"rendered":"Samedi 16 nov 17h \u00ab\u00a0It\u2019s a free world\u00a0\u00bb"},"content":{"rendered":"\n

Ken Loach<\/strong>, (2008) 96mn avec Kierston Wareing, Juliet Ellis, Prix du sc\u00e9nario \u00e0 la Mostra de Venise pour le sc\u00e9nariste:Paul Laverty<\/strong>. <\/p>\n\n\n\n

Angie se fait virer d’une agence de recrutement pour mauvaise conduite en public. Elle fait alors \u00e9quipe avec sa colocataire, Rose, pour ouvrir une agence dans leur cuisine. Avec beaucoup d’immigrants en qu\u00eate de travail, les opportunit\u00e9s sont consid\u00e9rables….<\/strong><\/p>\n\n\n\n

Cette mise en sc\u00e8ne, efficace , am\u00e8ne le r\u00e9alisateur \u00e0 opter d\u00e9finitivement pour l\u2019action: il \u00e9vite la d\u00e9nonciation stylis\u00e9e par le discours, les discussions st\u00e9riles qui auraient essouffl\u00e9 le r\u00e9cit. Par des petites sayn\u00e8tes, il nous fait saisir l\u2019\u00e2pret\u00e9 de la vie des travailleurs immigr\u00e9s, la clandestinit\u00e9, l\u2019angoisse de l\u2019accident du travail, sans verser dans la caricature (il raconte m\u00eame avoir plut\u00f4t \u00e9dulcor\u00e9 l\u2019horreur de la situation de ces immigr\u00e9s, dont il avait pourtant entendu des r\u00e9cits terrifiants). Ainsi, tous ces personnages servent le r\u00e9cit <\/strong> (Critikat)<\/p>\n\n\n\n

Il y a quelque chose d’implacable, et de d\u00e9sesp\u00e9rant, dans ce constat d’une exploitation des pauvres par les pauvres, chacun \u0153uvrant pour sa survie, \u0153il pour \u0153il, chacun ayant ses raisons. L’une de celles d’Angie est son statut de m\u00e8re c\u00e9libataire, acharn\u00e9e \u00e0 prouver \u00e0 la soci\u00e9t\u00e9 (famille, administration) qu’elle a des revenus stables et une identit\u00e9 sociale cr\u00e9dible pour pouvoir \u00e9lever un fils dont on lui refuse la garde. Du c\u00f4t\u00e9 des prol\u00e9taires, Ken Loach ne juge pas Angie, il juge le syst\u00e8me qui r\u00e9veille son \u00e9go\u00efsme, lui donne des alibis pour commettre l’inadmissible. <\/strong>(Le Monde) <\/p>\n\n\n\n

Loach ne peut soutenir bec et ongles la cause d\u2019Angie tout le long du film, et pourtant il la suit dans sa course \u00e9chevel\u00e9e contre le syst\u00e8me en essayant de comprendre l\u2019engrenage infernal qui la happe, d\u2019int\u00e9grer intimement sa complexit\u00e9 et ses vices, c\u2019est-\u00e0-dire la fa\u00e7on dont peuvent \u00eatre repouss\u00e9es, mine de rien, les limites de l\u2019\u00e9thique. A ce titre, le film, aussi \u00e9tonnant qu\u2019effrayant de lucidit\u00e9, op\u00e8re un v\u00e9ritable tour de force. Loach est loin de s\u2019enliser dans un syst\u00e8me et semble au contraire soucieux de s\u2019accorder le plus justement possible aux discordances du monde, quitte \u00e0 bousculer ses propres rep\u00e8res et \u00e0 commettre quelques maladresses. C\u2019est ce qu\u2019on appelle se mouiller<\/strong>. (Inrock)<\/p>\n\n\n\n

La force du propos est l\u00e0 dans ce film pour bouleverser et r\u00e9volter<\/strong>..<\/p>\n\n\n\n

Kierston Wareing <\/h3>\n\n\n\n

est originaire de Leigh-on-Sea dans l\u2019Essex et a suivi la formation du Lee Strasberg Theatre and FilmInstitute \u00e0 New York pendant trois ans, de 1997 \u00e0 2000. .<\/p>\n\n\n\n

\u00ab J\u2019\u00e9tais en train d\u2019\u00e9tudier pour devenir secr\u00e9taire juridique, parce que j\u2019\u00e9tais sur le point d\u2019abandonner le m\u00e9tier d\u2019actrice, m\u00eame si c\u2019est ma vraie passion. Pour \u00eatre honn\u00eate, cela fait dix ans que je me bagarre pour exister. Tant de fois, j\u2019ai \u00e9t\u00e9 sur le point d\u2019\u00eatre choisie, nous n\u2019\u00e9tions plus que deux ou trois, et puis \u00e7a n\u2019a pas march\u00e9… Je m\u2019\u00e9tais dit que si cette fois cela ne se faisait pas, je laissais tomber. Et puis mon agent m\u2019a appel\u00e9e et d\u2019une voix boulevers\u00e9e, m\u2019a annonc\u00e9 que j\u2019avais le r\u00f4le. Je n\u2019ai m\u00eame pas cri\u00e9 de joie, j\u2019\u00e9tais sous le choc. Et je lui ai demand\u00e9 si c\u2019\u00e9tait vraiment s\u00fbr. <\/p>\n\n\n\n

Paroles du r\u00e9alisateur<\/h3>\n\n\n\n

\u00ab\u00a0Nous avons vu Kierston Wareing six ou sept fois, et chaque fois, elle s\u2019est r\u00e9v\u00e9l\u00e9e brillante, toujours int\u00e9ressante, amusante,rac\u00e9e et surprenante. C\u2019est en plus quelqu\u2019un d\u2019extr\u00eamement agr\u00e9able, ce qui aide quand vous \u00eates amen\u00e9 \u00e0 travailler tr\u00e8s \u00e9troitement avec cette personne. Nous cherchions une com\u00e9dienne qui ait la capacit\u00e9 d\u2019appara\u00eetre non seulement sympathique, mais aussi impitoyable. Il fallait qu\u2019elle soit dure,qu\u2019elle ne fasse pas de sentiment. Kierston r\u00e9ussit tr\u00e8s bien \u00e0 faire passer cela dans ses yeux.\u00a0\u00bb<\/strong><\/p>\n\n\n\n

Ken Loach<\/h3>\n\n\n\n

N\u00e9 en 1936 il \u00e9tudie d’abord le droit \u00e0 Oxford avant d’int\u00e9grer une troupe de th\u00e9\u00e2tre. Dans les ann\u00e9es 1960, Ken Loach <\/strong>fait ses d\u00e9buts \u00e0 la t\u00e9l\u00e9vision, derri\u00e8re la cam\u00e9ra, avant de passer au cin\u00e9ma \u00e0 la fin des ann\u00e9es 1960. En 1969, il r\u00e9alise ainsi \u00ab\u00a0Kes<\/strong>\u00ab\u00a0, tr\u00e8s remarqu\u00e9 \u00e0 sa sortie. Dans les ann\u00e9es 1970 et 1980 s’ il marque les esprits par des films comme \u00ab\u00a0Family life<\/strong>\u00a0\u00bb en 1971 c’est durant les ann\u00e9es 90 qu’il connait le succ\u00e8s avec de nombreux films \u00e0 forte connotation sociale et historique, \u00e0 l’instar de \u00ab\u00a0Riff-Raff<\/strong>\u00ab\u00a0, \u00ab\u00a0Carla’s Song<\/strong>\u00ab\u00a0, \u00ab\u00a0Raining Stones<\/strong>\u00ab\u00a0, \u00ab\u00a0Ladybird<\/strong>\u00a0\u00bb ou encore \u00ab\u00a0Land and Freedom<\/strong>\u00ab\u00a0. C’est au cours de cette p\u00e9riode que Ken Loach <\/strong>obtient pas moins de deux prix du jury au festival de Cannes . Continuant sur sa lanc\u00e9e, Ken <\/strong>sort en 2001 \u00ab\u00a0The Navigators<\/strong>\u00ab\u00a0, en 2002 \u00ab\u00a0Sweet Sixteen\u00a0\u00bb, <\/strong>et en 2004 <\/em>\u00ab\u00a0Just a kiss\u00a0\u00bb<\/strong><\/em><\/a>, l’histoire d’une relation entre deux personnes appartenant \u00e0 des communaut\u00e9s diff\u00e9rentes. En 2006, Ken Loach <\/strong>re\u00e7oit la palme d’or du festival de Cannes pour <\/em>\u00ab\u00a0Le vent se l\u00e8ve\u00a0\u00bb<\/strong><\/em><\/a> qui traite de la guerre d’ind\u00e9pendance irlandaise. L’ann\u00e9e suivante, il r\u00e9alise \u00ab\u00a0It’s a Free World<\/strong>\u00ab\u00a0, avant de sortir en 2009 <\/em>\u00ab\u00a0Looking for Eric\u00a0\u00bb<\/strong><\/em><\/a>, et en 2010 \u00ab\u00a0Route Irish<\/strong>\u00ab\u00a0. Ensuite se succ\u00e8deront plusieurs r\u00e9ussite comme \u00ab\u00a0La Part des anges\u00a0\u00bb, Moi,<\/strong> Daniel Blacke<\/strong>\u00ab\u00a0. Son dernier opus \u00a0\u00bb <\/em>Sorry We Missed You<\/strong><\/em><\/a> \u00a0\u00bb \u00e9tait pr\u00e9sent\u00e9 \u00e0 Cannes 2019, <\/em><\/p>\n\n\n\n

Certains retournent leur veste par opportunisme. Ou par simple lassitude. Pas lui. L’Anglais Ken Loach ne faiblit pas. Il hait toujours, plus que jamais, les ti\u00e8des qui, au nom de la raison d’Etat, de la raison tout court, rendent tol\u00e9rable l’injustice. Ken, lui, croit encore aux jours meilleurs, voire aux lendemains qui chantent. S’il n’en reste qu’un, ce sera lui : le dernier des Mohicans. On devrait le prot\u00e9ger, telle une esp\u00e8ce rare. Le cloner, m\u00eame.<\/strong>..(Pierre Murat, T\u00e9l\u00e9rama)

<\/p>\n","protected":false},"excerpt":{"rendered":"

Ken Loach, (2008) 96mn avec Kierston Wareing, Juliet Ellis, Prix du sc\u00e9nario \u00e0 la Mostra de Venise pour le sc\u00e9nariste:Paul Laverty. 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