With its naked celebration of self-sacrificial combat, the film strikes a tone redolent of old-school war propaganda.
Maïwenn fashions a bracing film about co-dependency, capturing the erotic contours of subservience and flattery.
The film quickly devolves into a contemptible, exploitative presentation of sociological matters.
My King might have been more resonant had Maïwenn allowed more time and space for her characterizations to organically develop.
These films present very different versions of motherhood in France, both of which emerge out of social precarity.
Polisse is about broken people, using their interactions with damaged institutions as fuel for their own cyclical struggles.
It radiates not the nostalgic sentimentality of Almost Famous but raw, pathetic, obsessive desperation.