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Vanishing lines | To end the films about generations.

The movie lines of flight It will soon hit our screens. It would be a shame to present it as the decline of the american empire des Y. How unfortunate it would be seen as a “generational film”.

Posted at 7:15 am

The movie lines of flight It will soon hit our screens. It would be a shame to present it as the decline of the american empire des Y. How unfortunate it would be seen as a “generational film”.

I’m telling you this because with our mania for putting sunkist labels on everything that moves, I’m afraid that some will have a hard time defining the work of the trio of creators made up of Catherine Chabot, Miryam Bouchard and Émile Gaudreault (who in all transparency is a friend) .

I loved the work created in 2019 at the Théâtre d’Aujourd’hui. The adaptation we made for the cinema is quite successful. What is evoked in the theater is shown on the screen.

We follow the six characters at the opening, at the karaoke bar or at the pharmacy. As for the closed session that gets the booze flowing and the tongues loose, it leads to a moment where all the elements (text, gameplay, production) help keep us nailed to our seats for 45 minutes.

It had been a long time since I was so upset at the movies.

But the question remains: does the fact that all six characters are all in their thirties make this a movie about Generation Y?

Not a crumb.

Since the emergence of the concept of youth in the 1950s and 1960s, we tend to believe that since works of fiction or cinema bring together characters of the same age group, they are the monolithic reflection of a generation.

That’s how we try and still try to see Rebel Without a Cause, The Graduate, the great chill, Tea Breakfast Club, Thirtysomething, The Decline of the American Empire, Children, Friends, How I fought… (My sex life), Those who make half revolutions only dig a grave and so many other movies and TV series.

But to say that the meeting of characters talking over a bottle of Southern Comfort or a joint manages to paint the picture of an entire generation is like saying that a basket of strawberries from Île d’Orléans symbolizes the seasonal harvest of all the berries in Québec.

What each of the characters tells us lines of flight it has a scope that transcends the cage in which we would like to lock them. This is the strength of this film. I who, as Dalida would say, are twice their age, totally found myself in their apprehensions, in their criticism of society, in their carelessness, in their anger, in their wounds, in their disorders and in their many contradictions.

We realize that we all carry within us a part of these characters. I am like the one who, in his comfort, is sometimes a socialist, sometimes a capitalist, I am the dreamy creator, I am the “philosopher” who thinks about the serious things in life, I am this drooling columnist who throws out huge things and who has to pay for it, I’m that frankly ordinary guy who finds happiness easy, I’m like the one who worries about the future of the planet and who wonders how the children born at this time will live.

Like these characters, I am the one who wants to improve the destiny of the planet and the one who feels guilty for making only small daily gestures, the one who sometimes speaks without saying anything and who likes to waste time, the one who walks, the one who carries the bus and the subway, but who also drives a car, the one who loves museums but does not hesitate to ridicule an unfathomable work, the one who is proud of his culture, but who hates the isolation that accompanies our nationalism.

Generational movies don’t exist. They thus become in the eyes of those who need reference points. A boomer, a macramé, a disco, a punk, a new wave, an emo, a hipster, an X, a Y, a Z… It’s so reassuring to know who you’re dealing with.

But beyond these marketing formulas, we realize that, from generation to generation, we all want the same thing: to take our place. In the eyes of the creators, this often happens through scenes where disappointment is expressed, through suffocating camera sessions that converge in a session of “finally telling you what I think of you”, in a way Who’s afraid of Virginia Woolf?

We want to take our place, we want to exist, we want to say that we exist, as the young actors did recently at an opening night at TNM. And as did (in a more constructive way) the actors of the ordinary Grand Cirque 50 years ago.

This is what is beautiful and moving in the human being. Without this ability to rage and cry out in dismay, he is just an animal like all the others.

This is what the characters of lines of flight provide us. With them, for 1 hour 30 minutes, you feel alive. Less alone. And ageless.

Suddenly, we don’t belong to a fucking group anymore.

Like the character of Olivia, this Anglophone from British Columbia who, during a forceful scene, sways solidly across Quebec, might have said, “Oh, and worse, f… the generations! »

lines of flightfrom July 6


#Vanishing #lines #films #generations

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