FREE ON CINEGEEK.DE Louise Hires A Contract Killer
Finally; with a day's delay, I have found the ideal film for International Women's Day. Because a woman like Louise-Michel can't be celebrated. She fights. A mountain of a woman: The hair hangs greasily around the head and we take care that the owner, Louise-Michel, does not feel disturbed by it herself. Louise wears a trench coat, in which her bent-over gait with ruddering arms is particularly unholy. Her expression is petrified, but at rare moments she surprises us with her gaze: Louise has the innocent eyes of a child. She cannot read or write. In the evening, she watches a pigeon pluck itself as a roast. Yolande Moreau plays Louise; it is her art to make us sympathize with this character. For Louise is also shy and insecure. But above all, she is poor. She works in a shabby factory where the boss always wins. This is already evident in the children's game of "Rock, Scissors, Paper". That's why he's the boss. But the factory's machines have long since been sold to China. One morning, Louise and her colleagues enter the empty hall. Together they think about what they can do together with their ridiculously small relief. Produce a nude calendar? Open a snack bar? Louise, who otherwise barely speaks, comes forward with the most sensible suggestion: hire a hit man to kill the boss. After some deliberation, the ladies nod and agree. Louise sets out to find him when a man with a strange girl's haircut drops a homemade gun from his coat: Michel (Bouli Lanners) is a contractor for a security company. His mobile number is no longer valid, his email address is out of date, and he can't immediately find the container where he lives and maintains something like an office. Michel, however, explains to Louise that he is a professional. To fulfill his mission, he sneaks into the hospital where his cousin, suffering from leukemia, is spending her last days. He supports her, so that the terminally ill appears stumbling before the boss and pulls the trigger.... Gustave de Kervern and Benoît Delépine have turned their attention to a topic that is topical on a daily basis: International finance. Who is the "real" boss of a modern company anyway? Who is in charge? The revenge story of Louise-Michel is wrapped in scenes that could also come from the surrealism of the twenties - but are much more anarchistic. At that time, the surrealists were accused of attacking the bourgeoisie, but without professing political edge. This is exactly what the Belgians De Kervern and Delépine do! The horrors of society, human dismantling, loneliness and death - Yolande Moreau as Louise expresses all this with her sad eyes (when was the last time there was a character in cinema that moved me so?). The story of Louise begins with social injustice. But it ends in the search for happiness - and Louise finds it in anarchy. "Energy, born of despair, is never defeated," wrote Louise Michel, the great anarchist of the 19th century, and the film is dedicated to her. Anarchist, that is also Michel, who after his work is done, is allowed to prove himself as a tap dancer. A nonsense with a lot of sense.
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