Baya, whose name reminds everyone of Bahia, in Brazil, is a rebellious young woman; she does not mix her words, she likes to equate anything resembling right wing as fascist, a term that is a favorite of most people on the left side of politics. She has a strong reason for being that way; she comes from parents that are half Algerian and half French with strong leanings to the left. She is a rebel who was abused by a pedophile, a man posing himself as a piano teacher. Baya has grown up to be an independent soul believing in having sex on the first date.
Arthur Martin, whose mother was Jewish at birth, is an avian expert who is not heavily into controversy. He gets rattled when a furious Baya irrupts in the studio where he is being interviewed about avian flu and other viruses. In Baya's mind, Arthur Martin, whose name is the same as a brand of popular stoves in France, he nothing but a fascist with his theories about the dangers of being exposed to all the dangers carried by birds.
It is almost inevitable these two would meet as they both are attracted to each other. Baya is vocal in her ways, while Arthur is more reserved. Baya suffers from being absent minded. She also wears inappropriate clothes that reveal her breast if she does the wrong kind of movement. She is easily distracted to the point of going into the Paris metro completely naked and not realizing it, until a Muslim man, sitting opposite her, is clearly shocked by her nakedness.
"Les nom des gens", directed and co-written by Michel Leclerc and Baya Kasmi, is a different film from France, with strong political, as well as romantic ideas. We saw it when it first opened commercially at the Sunshine, and on second viewing, we found it even better than the first time. M. Leclerc's film takes us through the backgrounds of all the players and what made them the way they turned out to be. It is a film that fires theories and ideas in rapid fashion, something that works well within the context of what the director was looking for.
The best thing in the film is Sarah Forestier whose take on Baya is disarmingly frank. One can only think about how difficult it must have been for this actress to do some of the things the screenplay demanded of her. It might have been embarrassing as well for her to follow what was expected of her. No wonder she was given the precious Cesar for best actress. It is a bold approach to acting, something quite unique. Ms. Forestier gives one of the most courageous renditions for an actress in recent memory.
Jacques Gamblin, on the other hand, plays the more quieter Arthur with good sense of what was wanted of him. His Arthur is a quiet individual whose dull life is shattered with the appearance of the intense presence of Baya. M. Gamblin keeps getting better and better with each new film. The wonderful supporting cast includes Carole Franck, Michele Moretti, Jacques Boudet and Zinedine Soualem.
Arthur Martin, whose mother was Jewish at birth, is an avian expert who is not heavily into controversy. He gets rattled when a furious Baya irrupts in the studio where he is being interviewed about avian flu and other viruses. In Baya's mind, Arthur Martin, whose name is the same as a brand of popular stoves in France, he nothing but a fascist with his theories about the dangers of being exposed to all the dangers carried by birds.
It is almost inevitable these two would meet as they both are attracted to each other. Baya is vocal in her ways, while Arthur is more reserved. Baya suffers from being absent minded. She also wears inappropriate clothes that reveal her breast if she does the wrong kind of movement. She is easily distracted to the point of going into the Paris metro completely naked and not realizing it, until a Muslim man, sitting opposite her, is clearly shocked by her nakedness.
"Les nom des gens", directed and co-written by Michel Leclerc and Baya Kasmi, is a different film from France, with strong political, as well as romantic ideas. We saw it when it first opened commercially at the Sunshine, and on second viewing, we found it even better than the first time. M. Leclerc's film takes us through the backgrounds of all the players and what made them the way they turned out to be. It is a film that fires theories and ideas in rapid fashion, something that works well within the context of what the director was looking for.
The best thing in the film is Sarah Forestier whose take on Baya is disarmingly frank. One can only think about how difficult it must have been for this actress to do some of the things the screenplay demanded of her. It might have been embarrassing as well for her to follow what was expected of her. No wonder she was given the precious Cesar for best actress. It is a bold approach to acting, something quite unique. Ms. Forestier gives one of the most courageous renditions for an actress in recent memory.
Jacques Gamblin, on the other hand, plays the more quieter Arthur with good sense of what was wanted of him. His Arthur is a quiet individual whose dull life is shattered with the appearance of the intense presence of Baya. M. Gamblin keeps getting better and better with each new film. The wonderful supporting cast includes Carole Franck, Michele Moretti, Jacques Boudet and Zinedine Soualem.