The degree to which they are shown as incapable of doing so -- and to which French society is shown as being equally incapable of interacting with them -- illustrate the degree to which a certain cinematic panopticon has been placed around the subjects. From the omniscient perspective of the viewer, there is no apparent escape provided from this disposition.

And in this immobility and the resultant anger that drives the idle lives of the young men in the film, the Kassovitz film emerges as part of an increasingly saturated body of modern cinematic work dedicated to exploring the dystopian realities of modern urban life. While so many depictions of this experience center on the privileged experience of industrialists in generations past, post-industrial life has given way to the cinematic obsession with such experiences as those faced by Vince, Hubert and Said. According to Shannon-Jones (2011), we can define the...
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