User Reviews

i can't believe this movie is only rate just about 7. it should be around 9. i understand that no one has the same feeling towards anything. but this movie is definitely a must watch.

i read some reviews that acting was bad. really? do you see any American movies with this kind of acting level at all? i would say generally European actors and actresses are just way above. i thought acting was so flawless, i didn't feel like i was watching a movie. and all movies must be like this. you should not feel like you are watching a movie. it must becomes a real situation around you.

story is meant to be like this. it is like a montage of their everyday job. i can't believe so many people nagging about there is no cohesive story. really? then how do you watch any TV show? they are pretty much independent of other episodes. or anything else really...

and i really wish i could understand french better. i am sure that actual french script is much vulgar than the subtitles.

i particularly love the scene where they laugh their ass off when the girl told them that she was doing it to get her phone back. i actually laughed as they laughed. it shows you that they (CPU) deal this kind of ridiculous thing everyday. i never visited this kind of institution, but when i went to police station few times, i witnessed some crazy and ridiculous things like this. and i didn't stay there for hours. i am very sure CPU would actually get some absolutely crazy stuff everyday. they laughed because it is a laughing matter. that is what the movie is telling you. a minor girl should not do such thing just to get her phone back. OK? i also read that someone watched this movie with a social worker. and they hated this movie. i actually don't understand why. as mentioned above, when i went to police stations, i saw multiple officers doing things with a criminals or victims. i see that this movie the director tries to make the office a little more cheerful than it really is. i bet this kind of offices are actually dead serious and boring. but i don't get why this is such a far fetch from the reality. maybe the director wanted to depict the whole thing (office environment or whatever) as a different thing.

if you are a fan of "Gomorrah", then you will love this movie. i rate this movie as high as that movie. and in fact, both movies are based on true stories.

this is a movie. not a real documentary. OK? although it was based on a true story, nothing in this movie is real. so take it as a movie, not as a documentary. and even documentaries have some fake or false information. it is impossible to make anything 100% real, unless it is real. OK? LOVE this movie so much!!!

What's a better symbol of the innocence and wholesomeness of youth than a playground? Yet even in such surroundings you can't escape the monsters who prey on children. Thus begins "Polisse" a no holds barred look at a CPU - Paris Child Protection Unit. This is a very active, totally absorbing procedural that covers a lot of territory in its 2 hour length. The script by Maiwenn and Emmanuelle Bercot (both of whom appear in the film) effectively weaves together a series of real life cases. Maiwenn also directed in a gritty cinema verite style. The excellent cast is headed by Joey Starr as Fred a headstrong detective who falls for a photographer (Maiwenn) doing a story on the CPU. Karin Viard is Nadine who's reluctant to obtain a divorce despite her husband's infidelities. Marina Fois (Iris) is an associate and confidante of Nadine's. Frederic Pierrot is Baloo the leader of the CPU and intermediary between the humanitarian interests of the unit and the callous bureaucrats in charge. "Polisse" is an explicit, serious drama that is far above the usual television melodramas about similar subjects. It came in third place winning the Jury Prize at the 2011 Cannes Film Festival behind "Tree Of Life", "Once Upon a Time In Anatolia" and "The Kid With a Bike".

This French drama is set inside the Child Protection Unit of the Paris police. This is the unit that deals with crimes involving children and crimes against children, and some of the material here is supposedly based on actual cases. Actress, co-writer and director Maitwenn Le Besco has obviously thoroughly researched the background of the Unit, and she brings a documentary-like realism to the material through the use of hand held cameras, rapid cutting between scenes, overlapping story lines, and natural performances from an ensemble cast. There are some strong and unsettling moments interspersed throughout the film. Some of the characters are more fully developed than others, and this creates an uneven balance. A photojournalist (played by the director herself) is assigned to record the activities of the unit, and she becomes embedded and gets swept up in some of their activities. The members of the specialist unit seek catharsis for their stress through drink, casual sex, and inappropriate black humour. It is often demanding and draining work, as they often witness some of the worst deprivations in society, and the horrors that they deal with on a daily basis take their toll, both personally and professionally. With its mix of black humour, police procedural, tired melodrama and action, Polisse sometimes comes across like the pilot episode for a TV series about the CPU, sort of like a frenetic cross between The Wire and Law & order: SVU.

Polisse is a film that has struck me with its powerful dialogue, a few very intimate and heartbreaking scenes, and the strange, tragic ending. Starting with the elements of the film that stung my heart... 1. The girl with the stillborn child, the result of a rape. The baby was so small and so obviously premature that it couldn't really be categorized as an infant - but the young girl didn't refer to it as a fetus. She ignored the tacit anxiety of the nurses and asked to hold her baby, and she cradled it with the most heartbreaking look of denial in her eyes. She was completely in a daze, and when she finally began to cry I just couldn't believe how real it felt. 2. The scene in which Melissa and Fred were having dinner with her family. The editing just made everything seem so fresh and breezy, and the way this scene was cut just made me incredibly nostalgic. The lines were so adorable too - from Melissa's sweet grandfather to the close-ups of delighted smiles and familial love. Also, seeing Melissa on the balcony, taking pictures of people on the street - who actually were people involved who went the CPU as victims or predators - was so powerful. First of all, the composition of Melissa photographing just blew me away. Secondly, I was so completely touched when I saw little denouements for the minor characters, like the African woman reunited with her son. This entire scene was something I really found valuable and meaningful. 3. Nora's intense screaming at the religious man about the Q'uran and respect. He absolutely deserved it, especially after he told her that she should have been at home with her husband and children. 4. The most beautiful and poignant scene in the entire movie, for me, was after Mathieu got shot and was in the hospital with Chrys. I began to hold my breath as soon as he, with a lap full of Pepito cookies that Chrys bought him, touched her hand with this unbearably honest sense of devotion and affection. Chrys' husband left the room. They entwined their fingers together, and he said, "You do love me a bit, don't you?" She kissed him with a sad passion, and they both began sobbing. I have never, ever seen a more intimate or perfect moment of love and sadness. I commend both actors - Nicolas Duvuauchelle and Karole Rocher - for portraying their flawless chemistry in a way that I will never, ever forget.

Things I liked and disliked: 1. Balloo's outrage at his wife when suggested to "talk about work" incited him into screaming about how he would have to wake up at 4AM in order to take children away and rip families apart. I found this scene to be powerful, but it was a little too early on in the film for such an overwhelming and self-deprecating commentary on the justice system. There were many other scenes in which "talking about work" caused there to be overly offensive language that escalated too quickly to be realistic. The CPU workers would give numerous examples of pedophilia and prostitution in their speeches concerning their dislike for talking about work; I just found these examples to be crudely insensitive and way out of line, even for a CPU worker. 2. The spitfire dialogue between Gabriel and the older officers in the cafeteria. I found it to be realistic and interesting to observe, but it did become too noisy and thus slightly ineffective. 3. The large cast and each character's highly distinctive character. The acting in this film was just amazing. I found that I was able to distinguish each person for myself. However, by the time I did (and with such a big cast) I found myself missing out on the little details that defined each character. 3. Melissa. I think some aspects of her character added to the film - like her fake glasses and failing to shoot the gun well - but overall she was an awkward addition to the cast, and was too much in between; she never really was distant enough to be isolated (would always be around, even at their social gatherings) but didn't bond at all with any of them except for Fred. Her romance with Fred I found to be a beautifully filmed and executed relationship - but it was NOT something to be shoved in the middle of a fast-paced and gritty film like this one.

Things I didn't like: 1. Nadine interrupting the judge and slowly kissing her husband passionately on the neck, in front of the judge/lawyers. I just wanted to ask, what purpose does such an action serve? All it did was make me feel uncomfortable. 2. The weird relationship between Melissa and her husband. What was his purpose? Since he isn't the foil to Melissa's character (she basically has none), what purpose does he serve? As I see it, he only adds more sadness bulk to the film when he is watching Melissa pack her things and move away. 3. The very last part of the ending... Just, why?

Overall, I will say that most of the ending really was what warmed my heart. Though there were quite a few unanswered questions, the peppering of sweet lines ("You couldn't even be an extra") and the powerfully convincing dialogues (Nadine and Iris) really made up for the plot holes and problems with filming. There are so many more things I would like to discuss about this film but maybe the best thing would be for you to watch it yourself. I definitely recommend it!

This vivid movie is deeply touching. We taste all the range of emotions : disgust, anguish, laughter ("Eh... I lost my phone !").

All the actors are perfect, Joey Starr and Marina Foïs ahead. The children are outstanding as well.

We're seeing the day-to-day life of the entire squad, their personality and bond are all different and very interesting. In my opinion there aren't supporting roles. Each one contribute to the richness of the movie.

All the case depicted, theses lives, are overwhelming. From the little girl whose father "loves her too much" to the molested delivering girl, not to mention heart-breaking Ousmane. And yet it's the everyday life of a juvenile division. I couldn't bear it. My favorite movie of 2011 for the feelings it brought me.

... as it focuses upon a Child Protection team. Within the team we have: Nadine, newly divorced and mother of two children with whom her relationship is fraying from recent domestic pressures; Fred, father of one whose erratic relationship with his wife means he is constantly leaving his child; and Iris, who is trying to conceive a child and can't because she is suffering from bulimia. These are some of the (chaotic) police officers charged with protecting the basic rights of the children of the city. Joining the team is a photographer who documents with her pictures the team's work and challenges. She is Melissa, mother of two children that live across the street from her apartment with their father ...

The film's style is pseudo documentary as we watch the events as outsiders to the team in the way that Melissa is herself, often poised behind her camera. The role of Melissa is played by the director, Maiwenn, which adds another layer to the voyeurism of the audience. The distance this creates between audience and characters makes it difficult for some to believe the scenarios that the police officers face and their responses to them, the most unsettling of which is the well connected and unrepentant father who has been sexually abusing his daughter for some time.

The films works best when focused on the members of the team doing their job; it has a grittiness and intensity offset by humour, often of the gallows type. The film's foray into some of the personal relationships outside the office works less well although they are symbolic of the thin divide between chaotic families with some functionality, e.g. those of the team members themselves, and those in which the chaos is destructive, e.g. the people they arrest and children they rescue. One asks how thin that line is and what could happen before the line is blurred.

The acting is superb particularly from Marina Fois as Iris, who plays one of the most intriguing and intense characters and delivers a powerful punch at the film's conclusion. I enjoyed the film immensely; the characters and their escapades held my attention so completely that reservations about how realistic the film was, were kept at bay. The only moment in the film that felt wrong was the seduction scene on a dance floor between Fred and Melissa however, Maiwenn shows an astute sense of direction so I allow that there is some purpose to this scene that I might have missed on first viewing.

Leaving the series half-finished,I recently decided to re-start my viewing of the gritty HBO series The Wire. Looking round for info on The Wire,I found out about a French Noirish title which had been called "The Wire:The Movie." After the odd spelling of the title led to it being a bit tough to track down,I got set to join the polisse force.

View on the film:

Basing each case featured on ones that a real Child Protection Unit handled,the screenplay by co-writer/(along with fellow co-star Emmanuelle Bercot) actress/director "Maïwenn" (who gives a touchingly shy performance as Melissa) reflects the real open-ended experience of each department,with the writers brilliantly leaving each verdict hanging in the air,as the cases go from the CPU to the legal department.

Treating child abuse in a sensitive manner,the writers reveal that they are not afraid to put the cops with gritty dialogue under a Noir,rather than heroic light.

Knitting the cops as a close,gallows humor bunch,the writers paint the blue line in blistering shades of grey,where disagreements over the best course of action leads to Film Noir frustrations being vividly expressed,as Fred (played with an excellent gruffness by Joey Star) openly keeps Melissa separate from the force.

Working as a photographer during her time with the real CPU, Maïwenn & cinematographer Pierre Aïm give the movie a Film Noir,documentary gristle. Keeping Stephen Warbeck's score to a low hum, Maïwenn digs into the daily grind with tapping keyboards and muttered words making the loudest noise,whilst coiled shots cut the tension in the interviews with a knife.

Putting the cops up against a car chase and a child hostage taking, Maïwenn cuts any "Action" atmosphere from the set-pieces,via the tracking shots moving with a short,sharp,shock which unleashes the blunt take down by the cops across the screen,as Melissa joins the polisse.

This movie is not so much about children stories, nor about doing this specific police work. If it were about any of that, it would take more time and scenes to portray personalities of children abusers, the process of investigating, analyzing, preparing operations or doing treatment with victims.

It does not offer us any of that depth. It offers a couple of flashing scenes, brief stories that are just being used as everyday background and (police work) methodology - to take effect on small group of people that are of (!)seemingly random personalities.

In the movie you are being tossed right in the middle, with no character introduction. With time you will be provided with very subtle hints to reconstruct pieces (for example in some actions and some situations characters don't act according to their natural response) and that's the breaking point.

The way I saw it, personal histories and stories of police officers and of children they treat are connected. Some character insight hints are given throughout the movie, but almost every scene of child molestation story basically has - two - main protagonists to look at.

> Nora is of course connected to non-displayed daughter of a traditional Muslim father. Her reaction is so emotional it feels she shouts things she kept in for a long time

> Fred, who is constantly angered and on the outburst is connected with a homeless boy whose mother had to give him up. The boy is just so full of anger and sad and terrified; and only Fred was able to truly calm him down; and only then Fred is really showing his vulnerability.

> Nadine is connected to the girl who gave an extra push to get back her phone (it was a smart phone!) - in the whole scene she's in the background, laughing but a bit embarrassed and out of the center spot, laying low, not feeling or sharing the absurdity of the story (BTW, I just love the acting of the girl in that scene. You see in her eyes how she is slowly realizing, and how she is ashamed but also angry and deeply hurt by their laughter)

> And Iris - the last story, the closure. It has been winking at us for the entire time - her cold nature, detached; her disliking and even hatred of men; her bulimia and body-acceptance problems; identifying herself with a creature dead, gone, unwanted, sick, rotten. That happened when she was the same age as is Solal, I would guess. The contrast of her and Solal could be seen in two ways - are they opposites of character (one succumbs, the other overcomes), or is her ending also his future ending, no matter what he may accomplish in life? (she did have a very successful career after all) Can he escape his "destiny"? This is yours to conclude.

To conclude, all of this is not to represent or demonstrate police work or traumatic stories of real life. It's about past and present, about surviving, understanding, revealing the hidden. Outside of their jobs, would you make friends, hang out with these people? Or would you find Fred closed up and aggressive; Iris bitter cynic and passive aggressive; Nora a bitchy go-getter big-mouth. Outside in the real world these people are non-functioning; but when on their ground, which we all wouldn't even go near, they are heroes and experts.

To end, I would say the movie is very very emotional and even if I'm wrong with all this and over the top, I see it that way and like it that way.

At any given time there are upwards of a dozen French actresses - spanning several decades - working in cinema, any one of whose name on a marquee is sufficient to draw me to the box-office irrespective of whether the given actress is working with unknowns or with a cast of her peers of both sexes. In the second decade of the 21st century the pickings are rich; Danielle Darrieux, who made her name in the thirties is still with us and worked as recently as 2010, Micheline Presle, who rose to prominence in the forties is always prepared to don the old slap any time her daughter, Toni Marshall directs a new film, Jeanne Moreau, first seen in the early fifties remains fully active and from the sixties we have Catherine Deneuve, arguably the doyenne of present day French cinema. After Deneuve the deluge, Isabelle Huppert, Nathalie Baye, Fanny Ardant, Isabel Carre, Carole Bouquet, Sandrine Bonnaire, Mathilde Seigneur, Valeria Bruni Tedeschi, Cecile de France, Nicole Garcia, Agnes Jouai, Valerie Lemercier, the list goes on. It was an actress who drew me to Polisse; when I turned up at the cinema all I knew about Polisse was that it featured Karin Viard, what I didn't know was that it also featured Marina Fois and Sandrine Kimberlain and above all this I didn't know what it took me five minutes, tops, to realize, that it was a GREAT film with an equally great ensemble cast that includes writer-director Maiwenn. It has the authenticity of a documentary and one reviewer here has compared it to Le Petit Lieutenant, a reasonable comparison although I tend to think of it in the same breath as L.627. No matter, Polisse stands alone as a record of the Child Protection Unit in Paris and Maiwenn gives us the whole thing from soup to nuts, from the child victims to the adult abusers to the tight-knit unit seeing human sorrow and human evil day after day, week after week and often unable to remain aloof. It's actually quite a long film but it seems like only minutes such is the power of the ensemble. Ten stars going away.