"Les Misérables: when Ladj Ly hijacks Victor Hugo"

One is covered with stigma, the other with glory. Endowed, like J'accuse de Polanski, with more than ten César nominations, Les Misérables by Ladj Ly seems to call only praise. However, if the way we look at a film extends to the considerations and values ​​that nourish its author, Les Misérables has much to raise some objections.

The scenario is, of course, well conducted. In Montfermeil - which was once this "peaceful and charming place, which was on the road to nothing", tells us Victor Hugo (the real one) - patrol, in a hostile environment, police officers who have freed themselves from ethical rules. The search for a stolen lion cub (!) Leads them to confrontation with young people who roam in clusters in the city, then to blunder. The spiral of violence leads the two camps to the final confrontation. The painting is raw, its realism takes guts.

The comment of its author, him, sheds light on a very French evil, denial. Ladj Ly says he wanted to "describe

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