The Class

In a Parisian secondary school tucked in a working‑class district, the film traces a full academic year in the life of a young teacher, François Marin, and the 25 pupils he meets for French lessons for an hour each day. A quiet, introspective figure, he walks a careful line between keeping order and securing collaboration, aiming to unlock each student’s potential while navigating a classroom packed with diverse backgrounds and ambitions.

From the outset, the class is a microcosm of difference. Students come with varying standards of dress, deportment, knowledge, and motivation, and tensions simmer as François tries to establish a routine that feels fair to everyone. Early debates surface over grammar—specifically the imperfect and pluperfect subjunctive—highlighting how language can be both a tool and a badge of identity. A student even challenges whether the teacher’s demeanor or orientation matters, turning a routine lesson into a moment of personal inquiry.

When the class reads aloud from The Diary of Anne Frank, a girl named Khoumba resists, arguing that the text doesn’t speak to her life. In a moment of private insistence, François presses her to apologize, revealing the moral complexity behind classroom authority and the daily pressure to conform.

A turning point arrives with the self‑portrait assignment. Esmeralda, an outspoken and determined pupil, voices her dream of becoming a policewoman or, if that route proves unlikely, a rapper. Souleymane, a boy who struggles with written French, submits a striking photo‑driven story at a parents’ evening where his mother, who cannot speak French, acts as translator and advocate. These moments hint at a broader spectrum of hopes and talents waiting to surface in a room that often tests its inhabitants’ resolve.

Conflict intensifies when a football‑team disagreement erupts between Souleymane and Will, another challenging student. After Souleymane’s initial progress with writing is interrupted by this clash, he insults François and is summoned to the head teacher’s office. The classroom’s energy shifts from tentative curiosity to a sharpened struggle over authority, belonging, and fair treatment.

At a teachers’ conference to determine final placements, François defends Souleymane’s potential, but the process is undermined by two student representatives, Esmeralda and Louise, who behave in a strikingly childish manner. In the next class, they share with their peers that François “had it in for Souleymane,” sparking a heated rebuke. He tells them they have behaved like pétasses—a blistering accusation in French that triggers an uproar in the room. > “Skanks” (French: pétasses). The moment exposes the fragility of trust and the fragility of reputations within the school’s social web. The friction spills into the hall, and Souleymane, after a mishap that injures Khoumba with his backpack, walks out in anger and is suspended.

Khoumba later confides a harsher reality: if Souleymane is expelled, his father might send him back to Mali, cutting him off from his life in France. A disciplinary hearing follows, with Souleymane supported by his mother, and François faces the pressure of balancing equity with the practicalities of discipline. The outcome is a difficult one: Souleymane is expelled, a decision underscored by the emotional weight of family loyalties and language barriers.

In the year’s final lesson, François invites each pupil to reflect on what they have learned. Carl speaks about the spark of discovery he found in chemistry experiments; Khoumba grows more open to music and even to learning Spanish; Esmeralda claims to have learned nothing in school, only to reveal that she has read Plato’s Republic on her own. After the students leave, a quiet, introspective Henriette returns to admit that she feels she has learned little. The day closes with an impromptu football match between pupils and teachers, a lively, hopeful end that hints at resilience beyond the classroom walls.

Across these scenes, the film is a nuanced portrait of education in a densely layered urban setting. It explores how teachers can be both guide and mediator, how students bring courage, humor, fear, and dreams into a shared space, and how language—its rules, its power, and its politics—shapes identity and opportunity. The year unfolds as a mosaic of small, transformative moments: a hesitant apology, a daring dream, a quiet breakthrough in music or math, a moment of miscommunication that nearly unravels a relation of trust, and finally a sense that learning is less about flawless mastery than about the courage to grow when faced with real-life consequences.

In this earned, intimate drama, the ordinary days carry extraordinary weight. The film stays faithful to its central premise: school is more than exams and grades; it is a lived environment where students claim their futures and a teacher negotiates the delicate balance between discipline, empathy, and belief in every pupil’s potential.

Last Updated: October 09, 2025 at 15:45