I am not surprised that quite a few of the movie watchers have hard time with this flick. If you are addicted to car chases, random explosions and endless and mindless entertainment, this is definitely not the right movie for you. I, myself can't abide Hollywood garbage. So, I reach out to the rest of the world for quality art movies." The Young Lieutenant" is a perfect little gem of a movie. Even without all the obvious staples of the genre, there is more power and emotion in every single scene than in all of the stupid, badly written, computer generated Hollywood excuses for a movie together. Great actors and strong raw feelings and life as it is, without adornment. I am happy with that.

A young tough guy, eager to be a real cop solving real crime, and to be really cool. A middle-aged woman, alone, with personal problems but well organized and effective. Put these two together in a big city ("the jungle") in some cheesy office rooms, and you may expect to see another cliché cop-movie. But you're wrong.First of all, this film contains not much action at all. The murder that things evolve around is not the main attraction, it is more of a catalyst for the development of the humans on screen. Furthermore, there is no music to "guide" us emotionally, and no extreme display of emotions (or overacting) as is so common. Instead we follow the characters at distance, but emotions are there, but like in real life, poorly articulated and often ambiguous. And the less glamorous work of attending an autopsy, and reactions to it, is also shown; just the sound is disgusting, and that scene of the film has for me a really artistic feeling to it: it highlights the "fleshy-ness" of the body, that it is not just an abstract piece in life, but something bulky, ugly, imperfect and vulnerable, which is quite a contrast to how the young tough guy probably considers himself.These aspects together means that the film is more real. That does not have to be an advantage for a film - good film rarely limit itself to a display of reality. But to follow the development of the characters, their life and work, from a distance, sometimes with some police action added, as you do in a very precise way in this film, is very rewarding. This is a good drama with action content.

As in previous Beauvois' movies, this film is about loss. The loss is everywhere in the movie : the loss of the dead child of the main female character, the loss of a normal couple life for the "petit lieutenant" and, finally, his loss. What makes the movie so interesting is the way in which it uses the form of the cope movie (film noir) as a way to reflect the hardships of living with the memory of the dead, to go on while things are forever changed by their disappearance. At the same time, the form of the cope movie is more than a mere pretext: the director is very much at ease with the conventions of the genre and is very skillful at going beyond by adding stunning realistic elements. There is no heroism there, only gloom and despair. No big man hunt, but a very trivial one. A very good movie. A must see for lovers of french film noir.

Of the check french cinema - a realism rarely seen in the cinema and a magnificent composition in particular Nathalie BAYE. The reality of the young provincial cop arriving in capital is striking of truth. We suffer from these stabs and we curse this youth which take this young cop towards his loss. That feels(smells) the INNKEEPER in L627... He(it) is striking of the truth considers. Bravo to the director and has his comedians. To see to understand(include) cop's realité!!! The motivations of this young policeman make can be dumped but very often have entrainé the vocation has numerous policemen.. Quotation blasé person of these colleagues experimented are just(right) and nevertheless law of caricatures usually conveyed. The Arabic cop who malgrè its speech in the meal of integrated policeman does not ring as the truth and the proof made it when he pushes aside(knocks down) l former(ancient) who treats him as Bicot towards the end of the film, denoting that everything is far from being a pink and this film evite this kind(genre) of cliché(picture) with correctness. The final silence Or we have l impression(printing) that Nathalie Baye wishes to speak to us is just bluffing has new. Anything n left at random and has to wonder how the realizer was so well able to make apparaitre the threads of this inequitable and thankless job.. The sink of The Seine linked with the grey of this history which never sinks into the every white or every Black