Between blaring techno music, discreet visits to the bathroom, more or less strong drugs and bodies like bumper cars, the club is perhaps the purgatory that entertains and distracts from the repetition of everyday life — with a soundtrack that reflects the jubilation and immersion of a night out. In this setting, between heaven and hell, Félicie and Saïd meet and go home together. The encroaching light of dawn illuminates their very different views on life.
“Those who dance put their sorrows away” could be the key to enter a film that plunges us immediately in the midst of a cathartic dancefloor where we meet sweaty bodies in trance, to the sound of techno, looking to atone the ever more heavy burden of daily life, in an ephemeral collective utopia, free of social hierarchies.
The immersion is such that as spectators we want to join the party and it’s hard to even stay put in the chair. Tunz, tunz, tunz!
From the dancing ecstasy we move discreetly to the quietness of dawn thanks to the unfolding of the meeting of Félicie and Saïd who leave the club together for the “after” in her house. Then surfaces, in a more palpable way, a generational portrait of great authenticity that resonates within the contemporary context. The discontempt becomes more explicit in the collision of the night with the day, the oblivious alienation with the conscientization, the personal with the political… the gift of perspective from a young lawyer and a committed uber driver. An effervescent film deceivingly festive. (Susana Santos Rodrigues)
