簡介：2018年5月和6月，Jean Gabriel P_Riot与位于Ivry Sur Seine的(✍)一所高中的10名电影(🔈)班(👄)学生(shēng )合作，开展了一项将电影(🔄)与政治结(jié )合起(🛅)来的(❤)项目。学(👁)生们在摄像机前和摄(❇)(shè )像(🏜)机后(📇)工(⌛)作，重新布置(🏫)罢工、抵抗和劳(🌕)资纠纷的(⛲)场景，这些电影可(🥊)以追溯到20世纪60年代末到70年代末(🐦)，包括让(🖲)-卢(🕤)克(🏗)-戈达尔和阿兰(🤓)-坦纳的电影。nos d_faites汇集(💶)了调查结果，并增加了采访，在采访中，导演询问(🧓)学生他们刚刚表演的场景，关(guān )于“阶级”、“工会”和“政治参与”等概念，以及更广泛的社会背(bèi )景。这是(shì )一个简单，但尖锐的设置，让观众(📌)一瞥年(🐇)轻一代如何(🃏)看待政治和过去的政治(😣)电影。这(zhè )部影片还记录了(🖖)导演试图激怒学生的企图。在导(🐉)演和(👽)学(🚿)生似乎处(🌼)于平等地位的(de )遭遇中，基于(🔬)从未见(⏹)过的导演(🔽)更多类似于老师(shī )的提问，以及此(👛)时此(cǐ )刻对(☕)(duì )革命的(de )思考：起义的表现反映了同样的情况。这会导致一个真实的发生吗？　　In May and June 2018, Jean-Gabriel Périot collaborated with ten students in a film class at a high school in Ivry-sur-Seine on a project that unites cinema with politics. The students worked both in front of and behind the camera, restaging scenes of strikes, resistance, and labour disputes from films dating from the late 1960s to the late 1970s, including ones by Jean-Luc Godard and Alain Tanner. Nos défaites assembles the results, and adds interviews in which the director queries the students about the scenes they’ve just acted in, about such concepts as “class,” “labour union,” and “political engagement,” about wider social contexts. It’s a simple, yet trenchant setup, affording viewers a glimpse of how a younger generation sees politics and the political cinema of the past. The film also documents the director’s attempts to stir up the students. The conversations vary between encounters in which director and students seem on an equal footing, based on more teacher-like questioning by the never-visible director, and contemplations of revolution in the here and now: the performance of an uprising follows reflection upon the same. Could this lead to one happening for real?　　(🤔)回到1968年的电影时代，继续对重放(fàng )从过去跳出来(💶)的电影(yǐng )节选的(de )年轻人进行今天的采访，我(wǒ )们的失败描(🤟)绘了(le )我们(men )当前(🌰)与政治的关系。我们的失败，还是我(wǒ )们有足够的力量来面(⏯)对今(🥤)天的混乱？　　By going back into the cinema of the 1968 era and going forward with present-day interviews of young people who replay excerpts of film s jumping out from the past, Our Defeats draw the portrait of our current relations with politics. Our Defeats, or do we keep enough forces to confront ourselves with the chaos of today?