Our criticism of the World after us: deche, mourning and resourcefulness


CRITICISM – A broke young writer living off odd jobs in a hostile and rainy Paris. Portrait of a lost generation.

For her first feature film, Louda Ben Salah-Cazanas chose autofiction. His alter ego is a writer and not a filmmaker. Although Labidi is not quite a writer. His agent got him a contract with a publishing house on the strength of the first three chapters, but he still has to write the sequel to this ambitious novel against the backdrop of the Algerian war.

We see very little written Labidi. The young man hardly has time. His work as a Deliveroo deliveryman monopolizes him. He cribs in a maid’s room where his overweight roommate takes up more than half the floor space. Passing through Lyon, where his parents run a café, he falls in love with Elisa (the amiable Louise Chevillotte). He convinces the pretty student to follow him to Paris. They live on love and pasta, stolen from the supermarket.

“Class Bastard”

Labidi belongs to this category that sociologists call “precarious intellectual”. Above all, it is precarious. In a hostile, gray and rainy Paris, earning money becomes an obsession.
By force…

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