Following the exploits
of the Paris police department's «child protection unit,» Polisse (which screened early on) helped to establish this year's Croisette - spanning theme
of children in peril, which could be found to varying extents in fellow Competition entries Michael (kidnapping and pedophilia), Lynne Ramsay's We Need to Talk About Kevin (teenage sociopathy), Aki Kaurismäki's universally admired Le Havre (illegal immigration), and the Dardenne Brothers» Grand Jury Prize co-winner The Kid with a Bike (child abandonment); in the Directors» Fortnight entry Play (bullying); and in just about every film at the 50th - anniversary edition
of the Critics» Week, from French actress - director Valérie Donzelli's
opening - night
Declaration of War (pediatric cancer) to Israeli actress - director Hagar Ben Asher's The Slut (pedophilia again), the fact - based 17 Girls (teen pregnancy), and the profoundly disturbing Snowtown, which recalled Henry: Portrait
of a Serial Killer in its verité sketch
of Australian serial killer John Bunting, who lured local youths into aiding and abetting his violent crimes throughout the Nineties.
Considering the fact that Behind Enemy Lines is one
of the few films to have actually had its
opening date pushed forward following our
declaration of war, I'm not the only person able to spot an opportunity.
Thursday at the French Film Festival saw a repeat screening
of the
opening night film The Bird followed by
Declaration of War, France's submission for next year's Oscars ®.