Spaces of Critique & Transformation in Bande de filles
responding chorus ; a small group peels away while the others continue to traverse the dark courtyard . Next is an ominous insert : three looming male silhouettes in a long shot from below , watching like prison guards . The camera tracks left , its movement and position mimic the young women ’ s point of view .
Depicting the group from the front again , the camera once more moves backwards to keep them in a medium shot from the thighs up . Under the watchful eyes of their male wardens , the women exchange knowing and nervous glances . There is another call and response of “ Byes ” and a few more young women peel away . The remaining group is small enough to count easily now : only five survivors . Cut to the women from behind , the camera still tracking . A final chorus of “ Byes ” and three more peel away — now there are only two . From offscreen , a male voice calls “ Farida !” Cut to — a medium closeup of “ Farida ” and Marieme from the front . The heckler calls again , and the two women exchange uncomfortable glances . The male voice calls a third time and Farida mutters to herself that he should go and shut his face (“ Vas-y , ta guele ”). She and Marieme say their final “ Salut .”
Cut to a medium-long-shot of a colonnade at the base of an apartment building ; in silhouette , the two survivors separate , and Marieme mounts a third and final set of steps . The gauntlet has been run — she arrives at its end in the fluorescent light alone . Cut to a medium close-up of Marieme from the front , advancing towards the camera . The courtyard behind her is a soft blur as the camera tracks backward to keep pace . Shots from behind and front alternate as she walks , always tracking with her movement along the colonnade : down one side , around a corner , and along the back of the building — to discover a young black man , later identified as Ismaël .
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