After a patch of sleepy difficulty, I did eventually become hypnotized by the bizarre performances, somewhere between underplayed naturalism and Brechtian declamation, and increasingly bizarre moments (watch Thom Andersen speak German badly!).
Class Relations speaks about this time where everything, in a certain manner, ends, but where everything also begins, with a kind of sad insight. Dawn, [François] Moisson says in Jean Renoir’s La Marseillaise (and he would know since he’s a painter) has nothing enchanting about it; it’s cold and the colors are imprecise.
The filmmaking techniques employed in Class Relations further draw it out of the realm of straight adaptation or political parable. Their use of long takes, static camera work, and non-professional actors gives the film an austere and subtle power similar to the work of Robert Bresson... Despite its quiet pacing, the film’s intensity lends it incredible momentum, engaging the viewer from start to finish.