Cannes Review: Jean Dujardin In Cedric Jimenez’s ‘Novembre’

Cannes Review: Jean Dujardin In Cedric Jimenez’s ‘Novembre’
Understandably, the terrorist attacks in Paris on the night of November 13, 2015 have been treated with great sensitivity by the French film industry, and the only other film in the Cannes Film Festival’s lineup this year to touch on those events — Alice Winocour’s Paris Revoir — is a lightly fictionalized drama set in the aftermath of the night 130 people were killed, most of them at a rock concert at the city’s Bataclan nightclub. Though many names have been changed, for obvious security reasons, Cedric Jimenez’s Novembre is, by contrast, a heavy-artillery just-the-facts-ma’am police procedural detailing the manhunt that followed in the next five days.

The Cannes out-of-competition film starts in a quite surprisingly low-key way, following a woman jogging the banks of the Seine as David Bowie’s mournful early 1970s cover “Sorrow” plays. The events of the night play out on screen, and though, quite rightly,
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