Gagarine Cité has now been demolished. It exists only in the film. The film is also a tool of remembrance, bearing witness to the architectural vision of the period, and above all to the people who brought the place alive. They're everywhere in the film, in visual and sound archives, on screen and behind the camera. The film shows that the building is important but in the end what’s left is the people. Their relationship to the place endures whatever happens. That’s what the film.captures and convey. Holding out a mirror that reflects the beauty and complexity of those lives. Politically, it’s urgent to revisit how people see this bountiful and diverse younger generation, which is often portrayed with negative images, as having no future. Those clichés do a lot of damage. They must be torn down! Grandparents, their children and grandchildren; three generations and multiple views on life and a single location. When you demolish a place, you destroy family histories. Magical realism is everywhere in France. The tempo of the directing is driven by that balance between realism and oneirism. The magical dimension allows the film to approach reality and it's violence from another angle. Introducing a form of magical realism facilitated the creation of a back-and-forth between the real and the imaginary, and navigation between the collapse of the character and the building and zero-gravity. We believe in the power of images to sway people’s visions of themselves. It’s what opens up imaginations. (2,5) Written by Gregory Mann
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