Ni Pour, Ni Contre1: Conflict and Community in the Films of Céedric Klapisch

Abstract: Eschewing the making of elitist films, French writer/director Cedric Klapisch strives to appeal to a wide population with his largely humorous yet thought-provoking narratives that look compellingly at the relationship between individuals and community. Three of his films that have received U.S. releases-Chacun cherche son chat [When the Cat's Away], L'Auberge espagnole [The Spanish Apartment], and Les Poupees russes [The Russian Dolls]-reflect numerous unresolved issues that have threatened the harmony of French society in the last decade. His films provide a symbolic framework for exploring current social issues of gentrification and immigration, questions about national identity, and sovereignty concerns that affect union with other European nations. Key words: community, conflict, European unity, individual sovereignty, national identity Language: French Introduction The popular, largely humorous films of French writer/actor/director Cedric Klapisch attract audiences in France and throughout the world and provide an effective means for identifying a number of significant issues in current French society. Consistent in their thematic exploration of individuals and their place within a group, Klapisch's films typically draw attention to issues that divide communities (Lucia, 1997). Because his films offer multiple viewpoints expressed by characters who exhibit their human inconsistencies, Klapisch has been criticized for trying to have it both ways in his films, or for presenting ambiguous messages (Mazdon, 2001). Klapisch, who studied film for two years at New York University, holds a largely optimistic view of humanity, yet he also believes that each person contains a multitude of viewpoints, impulses, moods, and possibilities. The plurality of each individual's personality necessarily affects the communities in which he or she interacts. The variety, the differences, and the conflicts are part of each individual and therefore part of each community. Rather than seek to present solutions, Klapisch is content to re-present conflicts to his public for their consideration. This study seeks to bring the films of Cedric Klapisch to the attention of teachers and students who may not be well acquainted with his work, and to encourage viewers to discover in the films a number of topics, large and small, that are pertinent to current French studies. Students who undertake a study of Klapisch's films as part of a French or European studies course will find a deep consideration of specific social concerns (Mazdon, 2001) along with solid entertainment. Classes can discuss the current social, political, and economic issues highlighted in the films while identifying signature "Klapisch elements": In each film he plays a small cameo role; in each film the wide-ranging soundtrack adds nuance to the themes; he employs many of the same actors to play very different characters in a variety of his films; he uses a dream or fantasy scene to comment on reality; he has a penchant for framing images through grids or breaking an image into many small pieces. In a conversation at the Pause Cafe in Paris in late May 2006, Cedric Klapisch spoke at length about his films and touched on subjects ranging from realism to globalization. Thoughtful, intelligent, and generous with his time, he provided insight into his art and profession. Stressing that he did not see himself as enjoying a specific position in French film, Klapisch noted his appreciation of diverse French directors and writers, including Agnes Jaoui, Jean-Pierre Jeunet, Jacques Audiard, and Albert Dupontel, and stated that he hopes only to be perceived as a maker of modern films. Later in the conversation he reiterated, "Mon metier est d'observer les gens, les decors, la musique de mon epoque. J'essaie d'etre le temoin de ce qui se passe autour de moi" (C. Klapisch, personal communication, May 27, 2006).2 [My job is to observe the people, the settings, and the music of my time. …