In Us: another look at youth – Actus Ciné

In us: another look at youth - actus ciné

With “In Us”, the filmmaker Régis Sauder finds the students he had followed in 2011 to appreciate the life course of each one and paint the portrait of an intelligent French youth and the eyes wide open on the world.

HelloCine: In U.S is the sequel to We Princesses of Clevesreleased on screens in 2011. When did you have the idea of ​​composing this diptych?

Regis Sauder : The idea germinated little by little. I’ve always kept in touch with the young people filmed on the occasion of this first film and it’s in a way they were the ones who launched the signal for this reunion. 10 years is a crucial period, founding of a life, between 20 and 30 years.

Many things had happened to them on the family, emotional and professional level. And for us, the past 10 years have been politically charged. I wanted to tell the story and see how these young people had succeeded or not in finding a place in this ever more unequal and violent society.

What struck you the most in the evolution of the students you find here?

It is undoubtedly their courage, their ability to overcome the many obstacles they have had to face, without violence. They have a very specific look at the society around them and the place it reserves for them, its ability to welcome them.

It’s interesting to listen to them, because they have a modern reading of the world around us. Some have left Marseille, others have built their lives there, but all have made a social trip, they are sort of class defectors, but they don’t forget where they come from.

How did you view the youth of 2011? And on the youth of 2021?

It’s not my look that counts, my position is one of empathy. What matters is to make visible this part of youth that we never see, that is never represented. To make room for it to listen to it and look at it in its immense beauty. We shed light on the very minority proportion who have chosen violence to express their anger, but we never look at the vast majority of young people who decide to make another choice.

These young people, by their professional and political choices, have decided to be on the same level in society, to choose for many public service because these are their values. I find that once again courageous and remarkable. I am very admiring and they give me a lot of hope for the future. They are our future.

At the heart of your film, we find The Princess of Cleves. What relationship do you have with this work? What makes it useful for deciphering youth?

At the heart of the film, we find above all the school, the fundamental role of the teachers who accompany these young people, who believe in the possible encounter with texts, literature as a means of emancipation. The public school today is threatened, like the public hospital, this is what the film tells.

I think it is fundamental to show how essential it is. And, as Emmanuelle recalls in the film, “this is exactly where the public school must play its role“so that we can still imagine that the common goal we have set ourselves is freedom, equality and fraternity.

In Back to Forbach, you wondered about the rampant impoverishment and the frontist drift of the city where you come from. The Marseilles of In U.S doesn’t seem so far from Forbach…

Marseille, Forbach… society is crossed by xenophobia and racism. We need works, films that take a different look at the people who are born, grow up and live in these neglected neighborhoods. They are like us, eager for love, friendship and hope. The vast majority of them want a job, a place in society. My film shows these territories in a different way and casts a look of hope on areas that are continually disqualified or stigmatized.

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