{"id":27462,"date":"2026-04-23T22:25:54","date_gmt":"2026-04-23T22:25:54","guid":{"rendered":"https:\/\/rsgproduction.fr\/?p=27462"},"modified":"2026-04-28T17:19:08","modified_gmt":"2026-04-28T17:19:08","slug":"le-cri-des-gardes","status":"publish","type":"post","link":"https:\/\/rsgproduction.fr\/?p=27462","title":{"rendered":"Le Cri des Gardes"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"27462\" class=\"elementor elementor-27462\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-11ad8f1 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"11ad8f1\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-7b391f1 exad-glass-effect-no exad-sticky-section-no\" data-id=\"7b391f1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-65beec5 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-spacer\" data-id=\"65beec5\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}.e-con{--container-widget-width:100%}.e-con-inner>.elementor-widget-spacer,.e-con>.elementor-widget-spacer{width:var(--container-widget-width,var(--spacer-size));--align-self:var(--container-widget-align-self,initial);--flex-shrink:0}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container,.e-con>.elementor-widget-spacer>.elementor-widget-container{height:100%;width:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer{height:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner{height:var(--container-widget-height,var(--spacer-size))}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty,.e-con>.elementor-widget-spacer.elementor-widget-empty{position:relative;min-height:22px;min-width:22px}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon,.e-con>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon{position:absolute;top:0;bottom:0;left:0;right:0;margin:auto;padding:0;width:22px;height:22px}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f265675 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"f265675\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-c5f9418 exad-glass-effect-no exad-sticky-section-no\" data-id=\"c5f9418\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d83485d exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"d83485d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default elementor-inline-editing pen\" style=\"font-size: 24px; font-style: normal; font-weight: bold; color: #000000; line-height: 1.2em; text-align: right;\" data-elementor-setting-key=\"title\" data-pen-placeholder=\"\u00c9crivez ici...\">Le Cri des Gardes<\/h2><h5>\u00a0<\/h5><h5 style=\"text-align: right;\">(The Fence)<\/h5><h6>\u00a0<\/h6><h6 style=\"text-align: right;\">\u00a0<\/h6><p style=\"text-align: right;\">2026<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-207dee7 exad-glass-effect-no exad-sticky-section-no\" data-id=\"207dee7\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c9ca946 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"c9ca946\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><span style=\"font-style: inherit; font-weight: inherit; letter-spacing: 0px; text-align: justify;\"><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone wp-image-27474 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6067.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6067.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6067-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6067-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6067-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-390b3ee elementor-section-boxed elementor-section-height-default elementor-section-height-default wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"390b3ee\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-69fe0cf exad-glass-effect-no exad-sticky-section-no\" data-id=\"69fe0cf\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b179872 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"b179872\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p style=\"text-align: center;\">FR\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0EN<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c40b310 e-transform exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-html\" data-id=\"c40b310\" data-element_type=\"widget\" data-settings=\"{&quot;_transform_scale_effect_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:0.9,&quot;sizes&quot;:[]},&quot;_transform_scale_effect&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:0.8,&quot;sizes&quot;:[]},&quot;_transform_scale_effect_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;_transform_scale_effect_mobile_extra&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"html.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\r\n<input id=\"content_switcher\" class=\"toggle_switch toggle_switch-ios\" type=\"checkbox\" \/> \r\n<label class=\"toggle_switch-button\" tabindex=\"0\" for=\"content_switcher\"><\/label>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a3a5f05 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"a3a5f05\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\">\u00a0<\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><p>Sur un vaste chantier de travaux publics en Afrique de l\u2019Ouest, le patron et un jeune ing\u00e9nieur partagent une habitation provisoire derri\u00e8re la grille de l\u2019enceinte. La future \u00e9pouse du chef de chantier arrive d\u2019Europe le soir m\u00eame o\u00f9 un homme \u00e9l\u00e9gamment habill\u00e9 se pr\u00e9sente \u00e0 la grille pour exiger la restitution du corps de son fr\u00e8re, mort sur le chantier un peu plus t\u00f4t. Il ne quittera pas les lieux tant qu\u2019on ne le lui aura pas rendu \u2026<\/p><p>Claire Denis adapte ici la pi\u00e8ce \u00ab\u00a0Combat de n\u00e8gre et de chiens\u00a0\u00bb (1979-1983) de Bernard-Marie Kolt\u00e8s avec Isaach de Bankol\u00e9 dans le r\u00f4le principal. L\u2019acteur ivorien des r\u00e9cents \u00ab\u00a0Muganga\u00a0\u00bb et \u00ab\u00a0The Brutalist\u00a0\u00bb avait d\u00e9j\u00e0 beaucoup jou\u00e9 dans les pi\u00e8ces de Kolt\u00e8s, et c\u2019est d\u2019ailleurs dans une de ces repr\u00e9sentations en 1987 qu\u2019il rencontre la r\u00e9alisatrice fran\u00e7aise qui lui propose de jouer dans son premier long-m\u00e9trage \u00ab\u00a0Chocolat\u00a0\u00bb. Il continuera par la suite de jouer pour le dramaturge et la r\u00e9alisatrice, mais n\u2019avait jamais jou\u00e9 dans cette pi\u00e8ce-ci de Kolt\u00e8s. Ce choix d\u2019adaptation et de casting est donc le fruit de destins crois\u00e9s sur plus de quatre d\u00e9cennies.<\/p><p>La r\u00e9alisatrice de \u00ab\u00a0High Life\u00a0\u00bb poursuit donc son travail sur l\u2019Afrique apr\u00e8s \u00ab\u00a0Beau Travail\u00a0\u00bb et \u00ab\u00a0White Material\u00a0\u00bb, en restant au plus proche de la pi\u00e8ce, dans les limites d\u2019un espace clos \u00e0 la mise en sc\u00e8ne assez minimaliste refl\u00e9tant la simplicit\u00e9 t\u00e9n\u00e9breuse d\u2019un dispositif tr\u00e8s th\u00e9\u00e2tral\u00a0: une mort, une conversation, une cl\u00f4ture. Elle y respecte l\u2019unit\u00e9 de lieu (les quelques recoins d\u2019un chantier perdu dans le d\u00e9sert) et de temps (une unique nuit \u00e9tir\u00e9e jusqu\u2019\u00e0 l\u2019aube) ainsi que le double axe narratif de l\u2019\u0153uvre\u00a0: la disparition d\u2019un ouvrier noir &amp; l\u2019arriv\u00e9e de la jeune \u00e9pouse. Un corps en moins et un corps en plus.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-27478 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>Avec une cam\u00e9ra tr\u00e8s fixe, elle y filme autant les corps que le vide de part et d\u2019autre du grillage mat\u00e9riel et symbolique. A l\u2019ext\u00e9rieur, un homme noir r\u00e9clame un corps. A l\u2019int\u00e9rieur, l\u2019homme blanc tente de gagner du temps, invoque une proc\u00e9dure, h\u00e9site entre politesse excessive et menaces d\u00e9guis\u00e9es. La dimension politique de l\u2019\u0153uvre se situe en effet dans le rapport \u00e0 l\u2019autre, plein de frustration et de haine. Ce face-\u00e0-face installe une tension continue dont le cadavre maintenu en hors-champ refl\u00e8te la violence dissimul\u00e9e et sous-jacente entre cet homme calme dans la p\u00e9nombre et les occupants blancs du chantier comme d\u00e9sajust\u00e9s face \u00e0 la gravit\u00e9 de la situation. La pr\u00e9sence de cette femme d\u00e9stabilis\u00e9e dans ce milieu, introduit une dissonance qui perturbe des \u00e9quilibres en fait d\u00e9j\u00e0 pr\u00e9caires. En arri\u00e8re-plan, se dessine ainsi la persistance d\u2019un rapport (n\u00e9o)colonial, du difficile dialogue qu\u2019il perp\u00e9tue, de sa brutalit\u00e9 et de ses rapports de domination.<\/p><p>Avec le \u00ab Le Cri des Gardes \u00bb \u2013 dont le titre vient de la communication nocturne en yoruba des gardes perch\u00e9s sur les miradors et dont on ne sait jamais vraiment quelle all\u00e9geance ils privil\u00e9gient \u2013 Claire Denis signe un thriller psychologique qui privil\u00e9gie sa dimension troublante et intimiste \u00e0 son caract\u00e8re politique et colonial. Dans une belle photographie cr\u00e9pusculaire o\u00f9 l\u2019esth\u00e9tique travaille entre les ombres et les n\u00e9ons, elle creuse ses personnages (blancs) dans une subtile exploration qui ne dit pas tout explicitement et donne de beaux r\u00f4les \u00e0 l\u2019Am\u00e9ricain Matt Dillon (Rusty James ; Proxima) face aux deux jeunes Britanniques Mia McKenna-Bruce (How to Have Sex) et Tom Blyth (Hunger Games).<\/p><p>Malheureusement le r\u00f4le \u2018principal\u2019 se retrouve plus trait\u00e9 comme une figure secondaire, rel\u00e9gu\u00e9 aux marges du chantier, derri\u00e8re la grille. Or la mise en sc\u00e8ne \u00e0 l\u2019\u00e9cran entre champs-contrechamps et points de vue interne \u00e0 la r\u00e9sidence des Blancs, de la droiture de tout instant de cette figure noire esseul\u00e9e et immobile qui s\u2019en tient toujours aux m\u00eames deux ou trois phrases face \u00e0 des Blancs apeur\u00e9s, en surnombre, arm\u00e9s et en position de pouvoir, ne r\u00e9ussit pas \u00e0 transmettre la force politique de l\u2019\u0153uvre originale. Car cette force politique tient de la dimension symbolique de cette division permanente et omnipr\u00e9sente de l\u2019espace sc\u00e9nique de part et d\u2019autre de la grille. Malgr\u00e9 de bonnes id\u00e9es d\u2019adaptation (comme la prise de distance dans la nature du personnage f\u00e9minin ou les flashbacks de jour introduisant un personnage), une esth\u00e9tique soign\u00e9e et de bons acteurs, le film peine donc \u00e0 nous fasciner et marquer.<\/p><\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><p>Rapha\u00ebl Sallenave<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-42480e6 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"42480e6\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><p>On a huge public works construction site in West Africa, the boss and a young engineer share a temporary dwelling behind the perimeter fence. The site foreman&rsquo;s future wife arrives from Europe on the very evening that an elegantly dressed man shows up at the gate to demand the return of his brother&rsquo;s body, who had died on the site earlier that day. He will not leave the premises until it is returned to him\u2026<\/p><p>In this film, Claire Denis adapts Bernard-Marie Kolt\u00e8s\u2019s play \u201cBlack Battles with Dogs\u201d (1979\u20131983), with Isaach de Bankol\u00e9 in the lead role. The Ivorian actor, known for his recent roles in \u201cMuganga\u201d and \u201cThe Brutalist,\u201d had already appeared frequently in Kolt\u00e8s\u2019s plays; in fact, it was during one of these performances in 1987 that he met the French director, who offered him a role in her first feature film, \u201cChocolat\u201d. He would go on to perform for both the playwright and the director, but had never played in this particular Kolt\u00e8s play. This choice of adaptation and casting is thus the result of four decades of intertwined paths.<\/p><p>The director of \u201cHigh Life\u201d thereby continues her exploration of Africa following \u201cBeau Travail\u201d and \u201cWhite Material\u201d, staying true to the play\u2019s essence within the confines of a closed space with a fairly minimalist staging that reflects the somber simplicity of a highly theatrical setup: a death, a conversation, a fence. She respects the unity of place (a few corners of a construction site lost in the desert) and time (a single night stretching until dawn), as well as the work\u2019s dual narrative threads: the disappearance of a Black worker and the arrival of the young wife. One body gone and one body added.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-27478 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2026\/04\/Snapshot_6072-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>With a very still camera, she films both the bodies and the emptiness on either side of the physical and symbolic fence. Outside, a Black man demands a body. Inside, the white man tries to buy time, invokes procedure, and hesitates between excessive politeness and veiled threats. The political dimension of the work lies indeed in the relationship to the other, full of frustration and hatred. This face-to-face encounter creates a sustained tension, with the corpse kept off-screen reflecting the hidden and underlying violence between this calm man in the shadows and the white occupants of the construction site, who seem out of touch with the gravity of the situation. The presence of this unsettled woman in this environment introduces a dissonance that disrupts balances that were, in fact, already tenuous. This sets the stage for the persistence of a (neo)colonial relationship, the difficult dialogue it perpetuates, its brutality, and its power dynamics.<\/p><p>With \u201cThe Fence\u201d Claire Denis delivers a psychological thriller that favors its disturbing and intimate dimension over its political and colonial aspects. In beautiful twilight cinematography where the aesthetic plays between shadows and neon lights, she delves into her (white) characters through a subtle exploration that doesn\u2019t spell everything out explicitly, and gives strong roles to American actor Matt Dillon (Rusty James; Proxima) opposite the two young British actors Mia McKenna-Bruce (How to Have Sex) and Tom Blyth (The Hunger Games).<\/p><p>Unfortunately, the \u201cmain\u201d character is treated more like a supporting role, relegated to the sidelines of the construction site, behind the fence. Yet the on-screen direction, with its shot-reverse-shots and internal perspectives within the white residents\u2019 home \u2013 the unwavering integrity of this solitary, motionless Black figure who always sticks to the same two or three sentences in the face of frightened, numerically superior, armed, and powerful white people \u2013 fails to convey all the political strength of the original work. For this political impact stems from the symbolic dimension of this constant and ever-present division of the stage space on either side of the fence. Despite some good adaptation ideas (such as the distancing effect in the nature of the female character or the daytime flashbacks introducing a character), a sophisticated look and good actors, the film therefore struggles to captivate and resonate with us.<\/p><p>Rapha\u00ebl Sallenave<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-e213b9d elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"e213b9d\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div 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class=\"attachment-medium size-medium wp-image-23132\" alt=\"\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/10\/Snapshot_4810-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/10\/Snapshot_4810-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/10\/Snapshot_4810-768x397.png 768w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/10\/Snapshot_4810.png 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Muganga<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-e2bc5d0 exad-glass-effect-no exad-sticky-section-no\" data-id=\"e2bc5d0\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-86dc178 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-image\" data-id=\"86dc178\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/rsgproduction.fr\/?p=23948\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"155\" src=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/11\/Snapshot_4996-300x155.png\" class=\"attachment-medium size-medium wp-image-23966\" alt=\"\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/11\/Snapshot_4996-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/11\/Snapshot_4996-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/11\/Snapshot_4996-768x397.png 768w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/11\/Snapshot_4996.png 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Hedda<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-d28d6b8 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"d28d6b8\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-da1cf23 exad-glass-effect-no exad-sticky-section-no\" data-id=\"da1cf23\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7a2941b exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-spacer\" data-id=\"7a2941b\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Le Cri des Gardes \u00a0 (The Fence) \u00a0 \u00a0 2026 FR\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0EN \u00a0 Sur un vaste chantier de travaux publics en Afrique de l\u2019Ouest, le patron et un jeune ing\u00e9nieur partagent une habitation provisoire derri\u00e8re la grille de l\u2019enceinte. La future \u00e9pouse du chef de chantier arrive &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/rsgproduction.fr\/?p=27462\"> <span class=\"screen-reader-text\">Le Cri des Gardes<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"_acf_changed":false,"_eb_attr":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","footnotes":""},"categories":[117,71,55,79,150,75],"tags":[],"class_list":["post-27462","post","type-post","status-publish","format-standard","hentry","category-afrique","category-france","category-metaphores","category-politique","category-senegal","category-social"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/27462"}],"collection":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=27462"}],"version-history":[{"count":31,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/27462\/revisions"}],"predecessor-version":[{"id":27621,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/27462\/revisions\/27621"}],"wp:attachment":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=27462"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=27462"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=27462"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}