The beginnings of Lola Quivoron take place in the cultivation of motocross of the suburbs of Paris, where a fearless rider shakes the boys’ club.

The conflicts and the agitation of the Parisian suburbs were represented on the screen before – but never, through the eyes of a protagonist as little categorized as that of exhilarating mashup of Lola Quivoron. Her name is Julia, but in the brotherhood of the “Rodeos” outlaw bicycle where she requires a place and gradually wins the reluctant respect, she uses the unknown handle, a bit like a lonely figure and without root d ‘A classic or west ronin saga. Leding a solid casting mainly composed of non-pros, Julie Ledru pierces as a hero born at the film road. Rodeo is a fuel fusion of the history of crime, the study of the characters and the existential mystery, a story of celebration and lamentation, and he announces the arrival of a gifted and adventurous filmmaker.

This first has the impression of following a familiar model of passing to adulthood – that of finding your tribe and making your way in the middle streets – is soon to be much less simple. The writer-director has spent years experiencing an underground community of motorcycle-popping horsemen north of Paris (an environment which she explored from a softer point of view but no less striking in her short film In the distance, Baltimore), and its empathetic understanding of the environment and its inhabitants appear powerfully. Her first scripted characteristic recognizes the class realities that contracted the lives of young characters, but she is at least also concerned about the idea of ​​transcendent spirituality as she is with the grain of daily survival.

In the chaos of the opening scenes, Julia’s bike was stolen, a question of disorder for her; It is as if she had lost a member. Quivoron intends to dive the spectator into Julia’s POV and uses hyperkinetic camera work by Raphaël Vandenbussche which is more embarrassed than involving. It is also useless; Ledru, a biker discovered by the director on Instagram, breathes the role with an intensity of prison taking which requires no highlighting. Elsewhere in the film, Vandenbussche realizes much more with restraint. Some of the without words of the film reach ineffable depths of feeling – sorrow, joy, suspense – through a combination of discreet lens and the moving partition of Kelman Duran, elegant distortion and another world of samples of reggaeton.

In these first moments, Julia’s noisy despair does not arouse any sympathy of her brother as a judgment or the male neighbor from which she requires a tour. “The shit sticks to you”, the latter spits with contempt, sufficiently illustrated to believe that it is better than someone so cursed. However, these patients may have affected Julia in the past, here and now his resolved sense of emergency leaves no time or space where it can touch it.

At her next step, replacing the missing bicycle, a mission in which she launched through the Larcene gompt and inventiveness. And not just any bike will do the trick; She needs a serious machine. After finding one to sell on eBay, she pretends to be a potential buyer, imitating a more practicing version of himself. Conventional femininity, like polite discourse, is strictly played for Julia when the situation requires it. (“Julie, Julia and I are non -binary beings”, says Quivoron in the film’s press notes.)

But Julia expresses emotional truth to man that she is about to tear: “I was born with a bike between my legs.” You feel for this chump and the others that will follow. Most filmmakers would write the reaction of someone who testifies to the theft of his expensive possession in broad daylight. What interests Quivoron is something else: Julia’s exultation opens the accelerator and rushes.

To see her tear the road on her mechanical courier is to see someone do what they like most in the world. Arriving at one of the rallies where runners show impressive waterfalls, she requires what she needs to keep the dream alive: fuel. Its presumption and aversion to side subtleties, most guys cannot even start treating its presence. The few women lying around around the rodeo generally do so in decorative terms. They wait and look next to the track, or maybe take a look at the back of the bike before its owner goes to Wheelies and other solo maneuvers.

But a rider, Kaïs (Yanis Lafki), finds something admirable and fun in Julia’s insistence to share her essence. With a teasing flirt that makes fun of oneself but sincere, he asks something in return: a smile. And she answers for all women: “Createy, guy.”

Kaïs belongs to a group called B-Mores, and another of its members is so impressed by the Moxy of “Unknown” that he takes her to show him some tips from the profession. This warm welcome from Abra (Dave Nsaman) goes beyond kindness; There is something soul and sacred on this subject, something that connects their fate. She will start to dream of him, and the dreams will not be comforting, entangled because they are in a devastating event.

While most of the Bs roll their eyes, not knowing what to do with this intruder, two in particular, Manel (Junior Correia) and Ben (Louis Sotton), light the full cannon hostility. Industrial, Julia seizes the chance to sleep in the garage which serves as a head office of the group. For her, it’s a boon. Some scenes, including the ravages of the opening sequence, show how the public accommodation apartment of his mother is not at home for Julia but simply a place to put away her few possessions and come up against her brother. The garage is a clubhouse and a place of business; This is where the runners, using slid parts, transform cheap bikes into inflated models for sale. The owner of the Domino garage (Sébastien Schroeder), whose adaptation and attention to details have not loosened (Sébastien Schroeder), whose adhesion and attention to detail have not loosened (Sébastien Schroeder) are all Bunk fact – prison – and take a reduction in profits.

Under his thumb more than anyone who is his wife, Ophélie. Played by co-scriptwriter Antonia Buresi in a fascinating tower, Ophélie has a tenacity of a survivor but fell online with the edicts of the great man and herself became a kind of prisoner, rarely leaving the house. Consequently, his son, Kylian (Cody Schroeder), who is about 5 years old, is agitated and agitated and his nerves are slaughtered. The intention to transform Julia’s thief’s skills into a chalet Ind

Nothing as sentimental or explicit as “sharing” continues between these two ardent women, and yet the affection is based between them in an undeniable way, as well as Ambiguë. Perhaps it is the roots of the island that make them Simpatico; Julia’s family is from Guadeloupe, Ophélie de Corse. When Julia draws Ophélie and Kylian out of their cramped apartment and for a walk, the feelings of liberation and connection are directly from the heart.

Julia’s altruism becomes clearer as history goes towards its astonishing conclusion. She insists for Kaïs that she does not need money, but she secretly moves the money she earns. And she does it with a ritual home, a bit like the sage she burns. She uses it so as not to purify her house, like most people, but emphasizing her body, knees and vulnerable elbows in particular.

For all its tenacity, Julia has not finished trying to prove herself to the Mations B. This need makes it more vulnerable than ever. This is also the reason for the surface of the rodeo passage in turning mode. But while the Ragtag group increases the issues that violated the laws and Quivoron clips in tension and fear, the filmmaker plunges into an area of ​​violence, horror and sacrifice that has nothing to do with crime . This is the place where dreams are revealed and the rubber meets the road.

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