This is the third film by Doillon that I've seen; the others being Ponette (1996) and Petit Freres (1999). In each of his films he has shown a sensitivity to children and how the world of relationships and adults look and feel to them. He has demonstrated also his ability to elicit authentic and poignant performances from his child actors.
Le Petit Criminel has a simple plot: A teenager discovers a sister he thought was dead is in fact alive and well and living with their father. He, therefore, sets out to visit and meet her. Along the way he robs a chemist to acquire money needed for the journey. Afterwards he bumps into a police officer to whom he is well known for petty crimes. In his panic he pulls a gun on the police officer and forces him to drive him to his sister's home where a reunion of sorts occurs.
As the other reviewer has noted the film excels in the dialogue and relationships drawn between le petit criminel (Marc), the cop (Gerard) and Marc's sister (Nathalie). The film doesn't seek to explain the characters outside of what we, and they, learn about one another over the course of a 36-hour period although we are given a little of Marc's situation before the drama begins. Nonetheless we learn a lot about them thus demonstrating how it is possible to draw close to someone if attention is paid to what they say, how they say it and how they seem/feel.
One of the film elements I found most compelling was the portrayal of violence. The violence is tawdry, almost mundane; it does not aim to shock or thrill. When Marc robs the chemist, the sale assistant's fear is palpable in what she says. When Marc pulls the gun on the police officer, the latter remains calm and professional, whilst Marc's breathing indicates accelerated anxiety. In such moments one asks 'why?' For both the victim and the perpetrator. The viewer is left to make of Marc and his actions what they will; they are not justified or apologised for and yet his behaviour and how he sees the world makes it difficult to condemn him.
The film's end resolves the situation that brought Marc, Gerard and Nathalie together. Each appears changed by what has happened. Their fates, however, are not concluded and one is left with a sense that they have stood at the edges of personal precipices; whether or not they fall is left ambiguous, as this is not the film's concern.
Le Petit Criminel has a simple plot: A teenager discovers a sister he thought was dead is in fact alive and well and living with their father. He, therefore, sets out to visit and meet her. Along the way he robs a chemist to acquire money needed for the journey. Afterwards he bumps into a police officer to whom he is well known for petty crimes. In his panic he pulls a gun on the police officer and forces him to drive him to his sister's home where a reunion of sorts occurs.
As the other reviewer has noted the film excels in the dialogue and relationships drawn between le petit criminel (Marc), the cop (Gerard) and Marc's sister (Nathalie). The film doesn't seek to explain the characters outside of what we, and they, learn about one another over the course of a 36-hour period although we are given a little of Marc's situation before the drama begins. Nonetheless we learn a lot about them thus demonstrating how it is possible to draw close to someone if attention is paid to what they say, how they say it and how they seem/feel.
One of the film elements I found most compelling was the portrayal of violence. The violence is tawdry, almost mundane; it does not aim to shock or thrill. When Marc robs the chemist, the sale assistant's fear is palpable in what she says. When Marc pulls the gun on the police officer, the latter remains calm and professional, whilst Marc's breathing indicates accelerated anxiety. In such moments one asks 'why?' For both the victim and the perpetrator. The viewer is left to make of Marc and his actions what they will; they are not justified or apologised for and yet his behaviour and how he sees the world makes it difficult to condemn him.
The film's end resolves the situation that brought Marc, Gerard and Nathalie together. Each appears changed by what has happened. Their fates, however, are not concluded and one is left with a sense that they have stood at the edges of personal precipices; whether or not they fall is left ambiguous, as this is not the film's concern.