From the start of Elementary (Apprendre), Claire Simon demonstrates a thoughtful reverence towards the daily lives of her primary school subjects. The camera is set low, capturing the variety of emotions-ranging from anxiousness to excitement-seen in students on their first day at Makarenko Public Elementary School, located in the Parisian suburb of Ivry-sur-Seine.
Elementary made its debut at Cannes in a special screening and serves as Simon's revisit to the realms of student life in Ivry-sur-Seine. She has previously offered compelling insights into France’s healthcare sector through her direct and ruthless documentary, Our Body. Other films from Simon's repertoire include keen explorations of kindergartners' intricate social dynamics in Récréation (1998), the intensely competitive admission process of France's renowned La Femis filmmaking academy in The Graduation (2016), and a close look at adolescent turmoil and friendship among local high school students in Young Solitude (2018).
Although quieter and more distant than Our Body, Elementary carries equally strong sentiments. Its significance amplifies when viewed in the backdrop of the woefully underfunded French public school system.
Simon maintains her characteristic style of non-intrusive filmmaking in Elementary with no narrations or background explanations. The film subtly hints at the communist past and recent demographic shifts of Ivry-sur-Seine but refrains from any direct comment. This technique allows the film's themes to be applied universally, resulting in its potential appeal beyond French audiences.
The film subtly upholds the importance of education as holistic and care-oriented and solemnly affirms the worthiness of teaching as a profession.
The teachers at Makarenko display a deep understanding of students' needs, ensuring that they feel connected and well equipped. There are scenes depicting a teacher reassuring a worried parent, another being considerate of a tired student, and even one kindly helping an autistic student. All of these moments clearly reflect that teachers serve not just as educators, but as caregivers too.
Elementary features a non-linear narrative, starting from the first school-day and ending with primary graduates’ ceremony. Simon presents the evolving classroom dynamics and challenges faced by the children as they negotiate their roles within these microcosms. An underdeveloped but crucial subplot involves a discussion on religion among Muslim students. Despite its brevity, it provides a pertinent reflection of the current climate of Islamophobia.
Despite minor shortcomings, Elementary is a comprehensive project honoring the trust of its subjects while engaging with them on their own terms, reflecting an inspiring level of care adopted by the filmmaker.
