The French miniseries “Represent,” Which is streaming on NetflixPractical reasons lead to a shift towards movie-ness. With its six half-hour episodes, it’s shorter than many features, and all six are directed by the same person, Jean-Pascal Zadi—who is also its star, its co-creator (with François Uzan), and the co-writer of every episode (with Uzan Other). Zadi A director and comedian, he has been directing independent films and music videos for many years. His 2020 feature, “Simply Black,” Comedy about the efforts of a well-intentioned but confused blunderer Black French actor (played) Zadi() to turn his artistic frustration into political actions, is among the most innovative and original recent examples. French films. Like That film “Represent” Although it is a one-man show in a sense, it features a large number of characters and locations and a broad vision. France At large
“Represent” The essence of the equation begins where “Simply Black” The feature film, which was shot in ParisThe lack of a focus is the core of the premise. Black People and meaningful depictions Black Life, in French media. “Represent,” However, it is anchored in our workaday lives Black People are forced from their homes to live in ghetto-like, large housing projects in the Suburbs of Paris. The Series is founded on their lack in real political power. Partly because of the false and distorted images. Black people that the media perpetuates—and the show dramatizes, with a grandly conceptual exaggeration, a comedic fast lane to that power. Zadi Plays Stéphane Blé, a youth counsellor in a housing project, who is transformed by a rapid turn of circumstance into a candidate for France’s Presidency. The The series is full of absurd (and sometimes far-fetched!) byways, sharp comedy observations and comedic performances. They range from funny to serious, self-deprecating, to moralizing. Unlike “Simply Black,” “Represent” Although it groans beneath the weight of convention and dictate, its ideas are as potent than those in the movie and more diagnostically important. “Represent” The over-all force of the universe derives its power from an unusual and daring idea: an attempt at definition and redefine. France’s political left.
The Front-runner in the Presidential campaign, Éric Andréï (Benoît Poelvoorde), is a doughy, middle-aged, whIte left-wing candidate who is tacking toward the center; he’s also the mayor of the suburb in which Stéphane lives. When Éric arrives for a photo op at Stéphane’s housing project, campaign handlers and media in tow, Stéphane, a longtime acquaintance, bluntly and wittily challenges him on his policies and his attitudes regarding the project’s residents. The The viral video of the takedown is broadcast on television. Stéphane becomes an instant celebrity. When Some news commentators make fun of him as a candidate, a political consultant with experience. William Crozon (Éric Judor), who’s also Black, is serious about the idea and actively recruits Stéphane to run.
The Series cast a humorous spotlight on a wide variety of subjects French Social and political ills, particularly those that involve France’s deep-rooted and largely unchallenged racism, which targets nonwhites of any ethnicity. One Far-right candidate campaigns using a platform for expelling “Arabs” (i.e., North Africans And Middle Easterners) from France. After Stéphane declares his candidacy, white people in a focus group associate him with “the projects,” Drug dealing and polygamy The Police are presented as hostile occupiers that incite fear and cause chaos. (When Stéphane questions police about the dubious arrest of a young man, he, too, is arrested, and the police assail peaceful protesters with pepper spray.) As for Éric, an ostensible Socialist, Stéphane challenges him for shifting funds from social services to security measures and for pursuing educational programs to prepare children of the projects for manual labor only.
When Stéphane undertakes his candidacy, he’s not running to win but to get out his message about the deprivation, frustration, oppression, and exclusion of French People of color He’s playing politics for the media attention, whereas William Has dubious motives to launch the project Stéphane into a real and serious candidacy, which, fuelled by Stéphane’s candor and charm, takes off. The Men are helped by Yasmine (Souad ArsaneA graduate of a highly regarded school of government, whose media skills and administrative skills give stability and credibility for a freestyle campaign. Yet Zadi With bitter humor, he delights in the chicanery and double-dealing that occur behind closed doors to political life. The The underlying rumble “Represent” Is it: Who benefits? It’s obvious from the start that the rise of an outsider leftist like Stéphane is a boon to the far right, and that, as the butt of Stéphane’s nationally celebrated display of wit, Éric is more threatened by his candidacy than are Stéphane’s ostensible political adversaries—and, consequently, Éric plays even more dastardly games to undermine it.
Amid The high-level machinations behind Stéphane’s back, Zadi This video demonstrates exactly the type street stories that the candidate is trying to share on the national stage. Stéphane is married to Marion (Fadily Camara(A beauty salon owner who is having trouble paying back the loan she took on the shop. The A couple wants to have a child and must rely on in vitro fertilization. (The scheduling of medical appointments—complete with Stéphane’s on-site delivery of sperm—around his political obligations is an inevitable element of comedy.) They With someone you share an apartment Stéphane’s mother, Simone (Salimata Kamate), who’s from Ivory Coast; a devout ChristianShe and her friends have deep-rooted, but trivial, prejudices about people of color. Senegalese And Malian descent (including Marion). They You can sprinkle prayers over conversations, or sprinkle holy water on them. What It’s a warmhearted, sitcom-like family comedy that jokingly and antics that reflect an essential everyday life.French normalcy, one that gets nonetheless knocked out of whack by all that’s uneasily abnormal in the situation of Black Residents of the projects. The foreclosed opportunities prompt an enterprising young man named Désiré (Homayoun Fiamor), Stéphane’s cousin, to become a local marijuana lord, and then to get entangled in political intrigues that cause trouble in Stéphane’s campaign and marriage alike.
Stéphane, too, is also the target of some stinging satire—some of it dubious and tone-deaf, as when he admits to having drunkenly pressured a woman into sex, years earlier, in an incident that Yasmine Investigators suspect rape. However, the truth is exposed with sordid humor and as being entirely innocuous. The Comedy is more easily captured in repeated tropes Stéphane stumbling into microaggressive faux pas toward YasmineThe hijab is worn by a woman named ‘Kaya’. He asks her to take off her hijab during a campaign visit to a remote rural village. “Yeah, sure, no problem, as soon as you stop being Black.” That trip, the series’ most elaborate and extended sequence, gives rise to Zadi’s most purely comedic inspiration, when a churchgoing white couple obliviously coaxes Stéphane to sing gospel for them, and he delivers a giddily fractured rendition of “Oh Happy Day”—a song that he doesn’t know.
The series features violence on the part of a white racist (albeit with a comedic upshot), spurious police raids, large-scale hacking of candidates’ e-mails, and plenty of ribald humor. ButDespite its high-energy, fine-grained cast and exuberance, it is a beautiful wine. Zadi’s blithely mighty performance at its center, “Represent” doesn’t match up to the artistic originality of “Simply Black.” In The feature film scenes are usually long and give rise to the title. Zadi and his fellow-actors time to riff while also providing the star with enough space to maneuver—and its mockumentary basis, featuring Zadi In a role that bears his name, he can conjure up a daring, sly complicity with viewers. By contrast, “Represent” is an unambiguous fiction that runs tightly, with generally brief shots, impatient editing, and dialogue and action cut to the bone of informational necessity—yet it nonetheless energetically delivers Zadi’s bold and bracing political message.
Avoiding Let’s not spoil the surprise, it is obvious that Stéphane’s most formidable rival is another leftist, Corinne Douanier (Marina Foïs), the environmentalist candidate, who’s running on a “green” Platform of Degrowth Opposition to nuclear energy is a cornerstone of her campaign. She’s less a target of Zadi’s satire than the other candidates (only her dumpster diving comes in for a glance askance), because her unimpeachable principles and probity set up not a clash of personalities but a serious conflict of ideas (which is nonetheless couched in broad comedy). The series suggests the cruel absurdity of advocating degrowth to citizens who’ve been deprived of the benefits of the country’s years of growth. Though The tone is brightened during scenes. Corinne And Stéphane face off, Zadi Makes Stéphane his mouthpiece to define racial, ethnic, and religious equality as the core ideal of the left, as the fundamental basis of economic justice and social progress. The Series leaps from its frame into the real political arena with suggestions that it takes an outsider or an amateur such as Stéphane to say so—that racial justice has little place in France’s actual political establishment. ♦