Francoski delavski film je luč dneva ugledal leta 1895 s prvim filmom v zgodovini kinematografije, ki nosi naslov Odhod iz tovarne (La Sortie de l'Usine Lumière à Lyon) bratov Lumière. Ta kratki film je na filmski trak ujel vsakdanje življenje delavcev, ki so zapuščali tovarno, in tako ponudil prvi pogled na delavski razred v nastajajoči kinematografiji. Od takrat se francoski film nikoli ni nehal ukvarjati s položajem delavskega razreda in njegovimi socialnimi in ekonomskimi vidiki, tako v dokumentarnem kot v igranem in animiranem filmu.

Kot primer navajamo nekaj kronoloških mejnikov. V tridesetih letih prejšnjega stoletja je v filmski produkciji prevladovalo gibanje, znano kot poetični realizem, katerega zgodbe so temeljile na socialnem realizmu in vsakdanjem življenju delavskega razreda. Filmi, kot sta Obala v megli (Le Quai des brumes, 1938) Marcela Carnéja in Atalanta (L'Atalante, 1934) Jeana Viga, ki danes veljajo za ene najpomembnejših v zgodovini francoske kinematografije, so pripovedovali o delavskih bojih in njihovih upih.

Od maja 1968 dalje so se v Franciji razcveteli dokumentarci in filmi o delu in stavkah na francoskih tleh. To so bili pogosto zelo politično angažirani filmi, kot je Vse gre dobro (Tout Va Bien, 1972) Jean- Luca Godarda, ki tematizira stavko v tovarni klobas in prikaže družbene in politične napetosti tistega časa. Ti filmi so povezani z nekaterimi besedili, ki pričajo o položaju delavskega razreda, kot je na primer L'Établi Roberta Linharta, knjiga velikega pomena tudi za sodobno družbo, ki je bila leta 2023 adaptirana za filmsko platno.

Čeprav se število filmov o delavstvu danes zmanjšuje, ostajata ta razred in trg dela še naprej predmet igranih in dokumentarnih filmov, ki pogosto nagovarjajo širšo javnost: denimo Louise-Michel (2008) Gustava Kerverna in Benoîta Delépina ali Zakon trga (La loi du marché, 2015) Stéphana Brizéja, ki raziskujeta resničnost delavskega sveta v spreminjajoči se družbi.



V letošnjem letu Kamerat ponosno podpirata Francosko veleposlaništvo v Sloveniji ter Francoski inštitut v Sloveniji.

It was in 1895 with the first film in the history of cinema, La Sortie de l'Usine Lumière à Lyon by the Frères Lumière, that French labour cinema was born. This short film captures the daily life of workers leaving the factory, offering a first glimpse of the representation of the labour classes in the emerging cinema. Since then, the working condition and its social and economic aspects have never ceased to be addressed in French cinema, both in documentary and fiction genres, as well as animation.

Some chronological milestones by way of example. In the 1930s, the so-called poetic realism movement dominated film production and offered stories rooted in social realism and the everyday life of the working classes. Films, now considered among the most important in the history of French cinema, such as Le Quai des brumes (1938) by Marcel Carné or L'Atalante (1934) by Jean Vigo, tell the struggles and hopes of workers.

From May 1968, and beyond, documentaries and films focusing on the labour of workers and strike movements in France began to proliferate. These were often highly politically engaged films, such as Tout Va Bien (1972) by Jean-Luc Godard, which explores a strike in a sausage factory, highlighting the social and political tensions of the time. These films resonate with certain texts that bear witness to the labour condition, such as Robert Linhart's L’Établi, which continues to leave its mark and was adapted into a movie in 2023.

Today, even though the proportion of labours films in the considerable mass of production is decreasing, they continue to exist and are the subject of fiction films or documentaries that often capture the general public's attention: for example, Louise-Michel (2008) by Gustave Kervern and Benoît Delépine, or La loi du marché (2015) by Stéphane Brizé, which continue to explore the realities of the world of work in a changing society.

This year, Kamerat is proudly supported by the French Embassy in Slovenia and the French Institute in Slovenia.