Final Exam

This is the American remake of the Belgian film Rosetta. Since the political climate is very different between the two countries, much of the details of story going to need to changed. Rosetta is a teenager who struggles in her social class. She lives in a trailer, and is a victim of the system--she gets fired from her job because it is cheaper for companies to not have someone on their payroll for too long. Unemployment is a huge problem everywhere, but it is much harder for young people with no skills in Belgium, than it is here in America. Though she struggles against it, there is someone in the world who wants to be her friend, and do normal things with her that other young people do. In that sense, there are many aspects of Rosetta that are universal, and this film can therefore be remade to fit other countries.
America is very different from Belgium, so to make this more relatable, a lot of things are going to be changed. It’s against the law to a teenager to not be in school--Rosetta is in school in the remake. She still lives in a trailer park, but her mother is not just an alcoholic, she doesn’t work because she is a “prostitute” for getting disability checks. Rosetta has a minimum wage job--at a McDonalds and it is not enough to pay for everything. What is coveted in this remake is an entry level job at an office that Ricky, her classmate has. Sexuality in the sense of puberty is not really something that Americans are into.

Scene 1: A shot of Rosetta gray boots with steadi cam. There is no sound but the ones that are actually in the background--cars, birds, people and Rosetta grunts. Rosetta is dumpster diving for food. She finds some old bananas. She gets out and starts walking. The camera follows her from the side, still hand held. It is only then that the viewer realizes that she is outside of her high school. It is lunch time. Rosetta hides from the others.


Scene 2: This is at Ricky's apartment. It is dull, white walled, and just plain awkward. The lighting is somewhat dimmed, not to set the mood, but because his light bulb doesn't work too well. They are eating potatoes and corn. All that is heard is their clanging silverware and the radio playing swing music in the background, which is far more lively than them.
Ricky: How do you like the food?
Rosetta: It's good.

They finish eating and stand up to clean the dishes. Ricky and Rosetta get close.

Ricky: Do you want to dance?
Rosetta: (bashfully) I can't dance. I don't want to.

Ricky takes Rosetta's hand anyway and starts awkwardly dancing. Two stepping. Rosetta has the slightest smile on her face.

Ricky: Are you having fun? I'm having fun.

They get closer. Rosetta is about to speak. She then starts feeling her terrible stomach pain.

Rosetta: (frustrated and uneasily) I have to go.
Ricky is speechless. Rosetta accidentally knocks over the dishes and leaves.


Scene 3: Rosetta sits looking out by her window in her tiny bedroom of the trailer after a really bad day of not getting promoted at work. Her mother is yelling in the background.
Rosetta: Your name is Rosetta. My name is Rosetta. You found a job. I found a job. You've got a friend. I've got a friend. You have a normal life. I have a normal life. You won't fall in a rut. I won't fall in a rut. Good night. Good night.
Rosetta starts to feel her stomach pain, and starts putting the blow dryer back and forth at it.

You can't go home again.....

The greats of European cinema all have one thing in common: social commentary. The Lives of Others and Persepolis have just that. Though completely different films, they both have a very similar theme--characters with love for their country, have been wronged by their country's government and these character must make a life-decision based on what's right for themselves. While average American viewers can't necessarily relate to that, the feeling that is given transcends lifetimes. These people are torn, and they don't fit anywhere. They never will; they will only just pretend like everything is okay and that they didn't have to face the challenges that they've faced.

Banilieue Blues

Watching La Haine, it became clear to me that Kassowitz did not want to portray the city Paris as its usual portrayal--a place of romance and liveliness. Rather, in this film, it is definitely seen as a place of hatred, one where the actual residents of its suburbs cannot feel safe. Paris as a city is filled with outsiders and cops that don't understand and will never understand the lives they live. In this film, I feel as if the banilieue is supposed to be perceived as a home to these people, not anyone else.

Aside from the tourism, the people that actually live there do not have these wildly romantic lives with long pieces of bread and hearts and wine and all those other bourgeois things. I think Kassowitz wants the viewers to really take a second look at Paris, and understand why its suburbs feel so hostile. This is a real aspect of Paris that no one ever seems to want to see.