概述：Kindertotenlieder constructed a timeline of the 2005 riots, from the arrest and death of Zyed Benna and Bouna Traor é by the police to the curfew imposed by Sarkozy as Minister of the Interior. The title of this movie is borrowed from a set of poems written by Friedrich Luc in 1834 after the death of two children, which was later composed into a song by Gustav Mahler. More importantly, these images were borrowed from reporters on French television channel TF1, as shown in the title card, and TF1 authorizes the reuse of these images in movies. However, Virgil Vernier abandoned the original editing and graphics of these images. By removing voiceovers, they were able to adapt to the narrative purposes fabricated by the dominant national television channel, following a new structural pattern that restored temporal or sequential connections: a list of television language elements, or a catalog of burned cars and used projectiles. It can be said that Vernier stood on the side of things and firmly set the movie in a place where language and objects coexist in a flammable intimate relationship, generating as many harmful ideas as luminous collisions. For example, a young man asked in response to the government's retaliatory gesture, "Do our cars need to be sprayed with water. The comments in street interviews go beyond the form of small interludes, not only tending to redeem the journalist's work, just like Jacques Rozier did in redeeming the paparazzi's work in "Disdain", but also refocusing the discussion on demands for justice and equality. When it tries to express itself simply, it faces extraordinary repression. These images are almost brought back to a hurried state, telling us that this movie will never end.
Kindertotenlieder constructed a timeline of the 2005 riots, from the arrest and death of Zyed Benna and Bouna Traor é by the police to the curfew imposed by Sarkozy as Minister of the Interior. The title of this movie is borrowed from a set of poems written by Friedrich Luc in 1834 after the death of two children, which was later composed into a song by Gustav Mahler. More importantly, these images were borrowed from reporters on French television channel TF1, as shown in the title card, and TF1 authorizes the reuse of these images in movies. However, Virgil Vernier abandoned the original editing and graphics of these images. By removing voiceovers, they were able to adapt to the narrative purposes fabricated by the dominant national television channel, following a new structural pattern that restored temporal or sequential connections: a list of television language elements, or a catalog of burned cars and used projectiles. It can be said that Vernier stood on the side of things and firmly set the movie in a place where language and objects coexist in a flammable intimate relationship, generating as many harmful ideas as luminous collisions. For example, a young man asked in response to the government's retaliatory gesture, "Do our cars need to be sprayed with water. The comments in street interviews go beyond the form of small interludes, not only tending to redeem the journalist's work, just like Jacques Rozier did in redeeming the paparazzi's work in "Disdain", but also refocusing the discussion on demands for justice and equality. When it tries to express itself simply, it faces extraordinary repression. These images are almost brought back to a hurried state, telling us that this movie will never end.展开
