Lascars: round da way by Albert Pereira-Lazaro and Emmanuel Klotz

Based on a concept that its founders already had back in the mid 90s, when TV was degrading every form of street art and Jamel Debouze was not there yet, Les Lascars (The Fellows) finally managed to come out of the underground in 2000 when Canal+ aired its first season. After their original, very short format, founder "El Diablo" and his "homies" went on to a feature film. As usual, the voice actors have been selected from a hall of fame of French rappers and comedians - and even porn stars.

The passage from short sketches to a 90-minute feature film represented a challenge. If the same priceless rhythm and intensity of the suburban anecdotes hasn’t be maintained, the authors managed to stick to some ideological principals of the original series, which consisted of avoiding any political messages concerning racism, discrimination or other social themes that often come with the representation of the lower classes in cinema.

The first result of that choice is a chronicle-like aspect, with sharp representation of every cultural aspect of the ghetto, from the rap music to fast food; from the slang to the dreams of enrichment (symbolized by the big cars, the mansions, the trips to Santo Rico and the new social status). At the same time, Lascars manages to avoid any glamorization or passionate defence of street culture.

However, these same aspects might be seen as a weakness of this portrait. If Lascars is funny and entertaining, and if its visual style is impressive, we could also mention that its irony does not imply any criticism at all. Lascars’s approach to society is that of mere observation, in a mixture of elements that put everything on the same level: working as a policeman or selling drugs, having a girlfriend or going out with porn stars. This cool ghetto talks about itself, but choosing mockery over reflection.

Finally, its humour and softness proves to be both its merit and its limitation. One could only wish that entertainment did not imply the absence of criticism (as political engagement does not necessarily mean seriousness). A portrait of the ghetto could surely manage to combine both of them.

Maximilien Van Aertryck and Bruno Carmelo