See, not all cops are terrible, immoral human beings!
The men and women who work in the Child Protection Unit of the Parisian police see and deal with a lot on a regular basis. They not only deal with the stress of their jobs but the inevitable fall-out in their personal lives-breakdowns, including, but definitely not limited to, divorce, adulterous relations within the force, and most importantly, depression. After all, seeing the world through some of this abused and endangered children can do quite a number on a person, and when you’re seeing it about a dozen times a day, eventually, all of that pain and turmoil can begin to take a toll on you. As is the case with mostly every member of the Parisian Police, they deal with a lot, but they also have such a strong unit that even when they do run into issues, whatever they may be, they always come together and help each other. But sometimes, as is most of the cases here, that doesn’t always happen and often times, the members can feel betrayed and left-out, without a hand to hold, or a shoulder to cry on.
A lot of Polisse, honestly, feels like a documentary. Writer/director Maïwenn does something smart and interesting with her material in that she allows for it all to be filmed in all-too real way, where we’re literally flies on the walls, watching as this police unit do everything that they do during a normal working day and night. She doesn’t pass any judgement on any character, she doesn’t paint any person as a sort of a “caricature”, and she sure as hell doesn’t get in the way of everything that’s happening; if anything, her camera is just there to be documentation for all that these policemen and woman have to put up with on a regular basis.
And yes, it can get pretty brutal.
But once again, Maïwenn does something interesting with the material in that she doesn’t allow for it all to get so bogged down in the sadness and misery of the proceedings. While the cases that we hear and see play-out can sometimes be all too disturbing and screwed-up, Maïwenn shows that this, yet again, another day in the life of these men and women. She’s not lionizing them and making them out to be perfect human beings, nor is she really making it seem like what they do is the hardest job of all – she’s just showing that they have a job to do and it can be, often times, a pretty miserable one.
Even if the movie itself doesn’t get too bogged down in the sad aspects of the story, the lives of some of these characters can be, and it’s interesting that Maïwenn put her focus on these characters in the first place. Normally, whenever watching a piece on child-abuse cases and scandals, the focus is normally put on the abused and the abuser, without much variation of the form. Here, however, Maïwenn puts her focus on, honestly, the people who really matter the most; they’re the ones who follow the case from the very beginning and do whatever it is that they can to find the person responsible, and stop them before they continue to go on and cause more pain and harm to children.
If anything, they’re the heroes of the story, but how come they don’t often get the spotlight they deserve?
Either way, Maïwenn paints them all in an honest, never shying away from their issues, as well as what makes them so good at their job in the first place. While it would have been incredibly easy for Maïwenn to show each and everyone of these characters as near-perfect human beings, without a fault in their systems, she goes one step further and shows that, in some ways, they’re more screwed-up than you’d expect – sometimes, it’s because of the job, sometimes, it’s not. They don’t always make the right decisions and they sure as hell don’t always know when enough is, well, enough, but they do their jobs to the best of their ability and they got the job done.
Sometimes, isn’t that all you really need?
Of course, the ensemble cast of characters work best because of the cast working with them, some of whom get more love and attention than others, which is fine, because they’re all good. Joeystarr plays Fred and has some of the more emotional and powerful scenes of the whole flick, showing just how his own home situation can come out onto the work that he’s doing in bad, unprofessional ways; Karin Viard plays Nadine showing an emotional vulnerability unseen in the rest of the characters; and while she’s considered an out-lier by the rest of the characters, Marina Foïs plays the photographer, documenting this group as they all pal around together and try to make ends meet on the job, showing a lot more insight than you’d expect.
But really, what makes all of these characters work so well together is that there’s a real feeling of love and connection between them all, making it feel as if they really are a family, that can’t be toyed with or destroyed, no matter how many harrowing experiences come in their way. The movie, once again, doesn’t make them out to be perfect human beings, but shows that sometimes, having the hand of your fellow man or woman, is sometimes what helps people out the most.
All it takes is a little hand-holding.
Consensus: Polisse doesn’t shy away from the gritty and upsetting features of its story/cases, but it also shows us real, honest characters that don’t so often get the attention that they probably deserve.
8.5 / 10
Photos Courtesy of: Indiewire