"November", a cinematic dive into the chaos after November 13, 2015

November, a film directed by Cédric Jimenez.

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Text by: RFI Follow

2 mins

Seven years ago, on November 13, 2015, France was bereaved by a wave of attacks killing 130 people and injuring hundreds in Paris and Saint-Denis.

French cinema offers several interpretations of this shocking moment.

After Alice Winocour's film,

Revoir Paris

, this week, director Cédric Jimenez signs a film soberly entitled

November

, a dive into the heart of anti-terrorism during the five days of investigation which followed these attacks. 

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Cédric Jimenez's film, Novembre

, offers us an off-screen account of the night and days that followed the attacks of November 13, 2015 

.

A timed reconstruction of the hunt carried out by the teams of the anti-terrorist sub-directorate of the judicial police, until the final assault, given five days later in an apartment in Saint-Denis.

Neither victims nor scenes of attacks 

The director shows neither victims nor scenes of attacks.

There is no feeling or psychological approach to the characters.

Just the amazement, the permanent tension and the exhausting teamwork that made it possible to identify and neutralize the two terrorists on the run.

The actors Jean Dujardin, Anaïs Demoustier and Sandrine Kiberlain embody these investigators from the shadows verifying thousands of testimonies until the arrival of a young woman played by actress Lyna Khoudri, a decisive witness who will lead the investigators to the terrorists.

Classic

November 

is a fairly classic and conventional immersive investigative film.

A fiction that took liberties with reality.

The young woman who allowed the arrest of the terrorists and who now lives under a false identity has never been veiled, yet this is how the film represents her.

An agreement was also reached on this subject between the young woman's lawyers and the production, which resulted in the distribution of a banner before the credits indicating that "

at the request of the person concerned, it is specified that the wearing of the Islamic veil by the character of Samia Khelouf responds to a choice of fiction that does not reflect her personal convictions

”.

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