09/10/2024 – Solange Cicurel looks at the infernal mechanics of harassment, in a family drama with awareness-raising overtones
Lanna De Palmaert in TKT
After having made two comedies around friendship and family ties (Don’t tell him [+lire aussi :
critique
bande-annonce
fiche film]Magritte for Best First Film in 2018) and adorable [+lire aussi :
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bande-annonce
interview : Solange Cicurel
fiche film] (released in 2020), Solange Cicurel change course and deliver TKTan unapologetic drama about bullying at school and on social networks, which is released today in Belgium distributed by its production company, Beluga Tree, with the cinema advertising company Brightfish.
On y suit Emma (Lanna De Palmaert), a 16-year-old girl who seems to have everything going for her, but finds herself in a hospital bed, plunged into a deep coma. At his side, his parents keep repeating: “I should have seen”. Consumed by guilt, his mother (Emilie Dequenne) cannot understand the incomprehensible: how could his little daughter get to this point? At first struck with amazement, Emma, coming out of her body, will try to understand what brought her there, and go back through her memories, revisiting certain more or less recent episodes which taken end to end retrace the story. of the harassment of which she was a victim.
As is often the case, it starts with not much. White pants, a bloodstain, a video circulating. A good-natured squeeze, “just for fun”. Except that the incident triggers a chain of events which gradually take on a scale that is difficult to control, where group pressure, shame, and social networks provide a dramatic resonance for what initially was almost nothing. . While she gravitated to the center of a social and friendly network that seemed welcoming at first glance, Emma found herself more and more isolated. At home, she withdraws, breaks communication with her parents who are attentive enough. “Don’t worry.”
TKT returns point by point to the spiral which leads to a singular harassment drama but which nevertheless echoes so many others. In this regard, Solange Cicurel’s film is part of an important societal reflection. TKT is clearly designed as a film for the general public, accessible to adults and young people alike, seeking in particular to adopt a cinematographic language accessible to teenagers, via music, or the work carried out on the image with the cinematographer Son Doaninspired by series like Sex Education or Euphoria.
The film is more of a parable than a social drama. The anchoring is deliberately vague, meaning that the story could take place anywhere, and the character of Emma, despite her confidence and her undeniable assets, finds herself a victim in her turn, as if to illustrate that there is no does not have the typical profile of a harassed person, or a harasser for that matter.
To embody Emma, we had to find a nature, an unknown face that would immediately resonate. A successful bet for the young Lanna De Palmaert, for whom this is the first role, and whose spontaneity and photogenicity make it obvious. In the role of parents, Emilie Dequenne is once again impressive in pure emotion, when Stéphane De Groodt surprises in a register that we know little about. Thanks to these assets and this accessibility, the film, which should be widely distributed in an educational setting, could help start a healthy conversation on the ravages of harassment among young people, and open dialogue between generations.
TKT is therefore produced by Beluga Tree. International sales are handled by Other Angle Pictures.
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