Athena: Romain Gavras’ Thriller of Socio-Political Unrest in Paris Suburbs, Produced by Ladj Ly (“Les Miserables”) (Siblings Conflicts, Police Brutality) (Venice Film Fest 2022)

Ly serves as a writer and producer on Romain Gavras’ Athena, which is a companion piece to those films and amplification of their themes. Where the earlier works built to stunning crescendos of violence, Athena begins in full ignition mode and dialing up its intensity throughout.

The film takes its title from the housing projects where almost the entirety of the action unfolds at a breathless pace.

Shooting took place among the ‘60s architecture of the Parc aux Lièvres projects in Paris’ southern suburb of Évry.

But the title also references Greek tragedy, with fraternal ties driven by conflicted loyalties, and blinding anger sparked by consuming thirst for revenge.

Scripted by Gavras, Ly and Elias Belkaddar, the film opens with a police press conference. French paratrooper Abdel (Dali Benssalah) has been called back from the front to request calm while an investigation is undertaken to identify the men responsible for the death of his 13-year-old brother Idir, seen in a video that’s gone viral.

A news clip calls it the third case of police brutality to rock the country in recent months.

The dead boy’s grandfather was an Algerian who fought with distinction in the French military.

A young man in the crowd hurls a Molotov cocktail, triggering instant chaos as cops with riot shields are overwhelmed and the violent mob loots the station, chanting “We are the police now!” Their leader, who hurled the explosive, is gradually identified as Karim (Sami Slimane), Abdel’s younger brother.

Karim barks orders and making snap decisions as the insurrectionists — most in their late teens or 20s — fan out to defend their turf from the marshaling police force.

While the rioters vow to wage war against the Feds until they deliver the names of Idir’s assailants, the cops stage counterattack to weaken their ranks.

Like Les Misérables, there is dense action and fast pacing, but not much by way of in-depth characterization.

The three surviving brothers are drawn with clear distinctions. This makes for heated friction when Karim confronts Abdel, spitting out “You’re a military whore for France.”

The issue between the two is what to do with the insurrectionists’ terrified hostage, cop Jérôme (Anthony Bajon), who is wounded by police bullet.

The film’s attention to technique risks overshadowing the interpersonal drama. But it’s the film’s visual poetry that stands out.

Gavras makes extensive use of long takes to reflect both the immersive aspect and the urgent immediacy. The camera climbs into walls, tight corridors and stairwells as insurrectionists and cops charge through the claustrophobic spaces.

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