Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

James Smith To me, this is one of those rare movies which open a door to another world - in this case, the bleak world of France during the Second World War. The movie is in French, but as an English speaking person, there was ample time for me to digest the subtitles and the action taking place on screen. I found the characters to be well rounded and real, with only a few minor hiccups. The acting is superb and very believable. Surprisingly, for a movie with such a supposedly sad theme, there were a few times when I found myself having a good old belly laugh, even though this movie is not a comedy. The humor comes from the ridiculous, but so real situations and/or some of the characters idiosyncrasies. Probably a bit like watching someone consciously avoid slipping on a banana peel, only to be run over by a Mac truck. In my humble opinion, this is a very well made and highly entertaining film.

dbdumonteil Tony Gatlif had already broached the subject of the gypsies in his earlier "Les Princes" (1983) or "Gadjo Dilo" (1998);sadly he never enjoyed commercial success in his native France,in spite of generally favorable reviews by critics .Himself a gypsy,he had to make a movie about his people during WW2 for it was also a genocide ,comparable to that of the Jews ;we learn that up to 25% of them were exterminated in concentration camps.Based on historical facts : the roundups by the French gendarmes in the occupied part of France and the story of a young resistant fighter who takes refuge in a small village where she has become a schoolteacher:what a humiliation it must be for her to have her pupils sing the notorious "Maréchal Nous Voila" (the children shout more than they sing ,perhaps on their mistress's advice)!It's no coincidence if this anthem is followed by the tune of "Le Temps Des Cerises" the revolutionary song of La Commune De Paris (1871).Ther's a sword of Damocles hanging over the band of gypsies who are camping in the small village .Not only the German soldiers ,but also the French police ;and anyway the French agree ,cause "they want to help the country get rid of that vermin" ;the gypsies in France have always been outcasts ,they were before WW2 and they still are in 2011.There are two just people in the village :the school teacher who welcomes the children in her school and the mayor who gives them a house so that they will not be arrested ;a "law" forbids nomadism in the country and the notable tries to circumvent it.It's a pity that the part of the mayor (singer Marc Lavoine ,an occasional actor ,notably in Chabrol's "L'Enfer" )and of the young teacher should be underwritten. All that concerns the gypsy rings true and of course they use their own language (there's an alternative gypsy title ,used abroad).And they make wonderful music.

Radu_A First of all, sorry for all the details in the following review, but I guess those of you interested in this film may find them useful.Having followed Gatlif's progression as a filmmaker from the early 90s onwards - I still have his 80s works to catch -, I've been wondering for quite some time when he would tackle the Porraimos, the 'Devouring' in Nazi-occupied Europe which left 250-500.000 Sinti and Roma dead. It's a sadly neglected aspect of the Holocaust, and neglected for a reason: the stereotypes and social conditions which make Gypsies easy targets for fanaticism and slander are still very much in check, as demonstrated by the recent forceful deportations of Roma from France, Gatlif's home country. Unfortunately, Gatlif's usual strengths translate as weaknesses when it comes to the story structure such an issue calls for. His films are great when they center around music and place the characters around it (Gadjo Dilo, Latcho Drom, Swing). They are weak when the focus is on the characters proper, for Gatlif invariably attempts to create rather a tableau of images than empathy with the protagonist's dilemmas (Exiles), or, even worse, when he appeals to romanticist views of Gypsies for the sake of accessibility (Transylvania). In the case of 'Freedom', all these weaknesses come into full swing: there's next to zero character development, which results in very weak story structure. There's little music to render the admittedly great cinematography alive. The scenes of Gypsies in (French) internment camps are long, dreary and lifeless - the controversial fact that French police collaborated with the Nazi Regime, which later deported the Gypsies to death camps, is somewhat alluded to (in the character of the limping agent) but incomprehensibly so if you don't know already. This ambiguity may be explained by the fact that Sinti and Roma rarely discuss the Holocaust due to taboos in regard to the dead. It's one of the most important aspects of Roma culture and again alluded to in the scene where the Kumpania ('extended family') refuses to use a house for fear of the spirits of the dead (muló). If you are wondering why there are so little films and books dealing with the Holocaust in spite of its impact on the Roma - that would be the most important reason. This also explains the blatant anachronism to use Romanian Roma (who speak a Transylvanian dialect of Romanes) instead of French Manouche (who speak Sinti Romanes, a different language): the (Western European) Sinti were wiped out by the Nazis to an extent of about 80%, their culture was almost completely annihilated, therefore they understandably reluctant to participate in reenactments of this catastrophe. The (Eastern European) Roma were also persecuted to an appalling extent, but their social structure survived, which may allow them to enact the persecution with more confidence.Still, Gatlif himself has illustrated a much better way to deal with this silence in 'Latcho Drom', in a shot of an old woman singing a lament, with the camera just brushing over her arm - and her tattooed Auschwitz internment number. Given that the (silent) way Gipsies deal with the Holocaust is fundamentally different from that of most Jewish groups, this kind of symbolism would probably have been more appropriate and artistically successful. As it is, 'Korkoro' is still quite important being the first film by a Gypsy film maker to deal with the subject. But judged by itself, it's a failure, and not a very interesting one to watch failing.

Paul Martin I've seen half a dozen or so of Tony Gatlif's films and I've enjoyed them all - in fact his previous film, Transylvania, was my equal favourite cinema release of 2008. While Gatlif's work documents the way of the Roma (gypsies), the themes are universal: celebrations of music, culture, ethnicity and so on. It's the dramatic and visual way in which Gatlif portrays these elements that has much impact for me.Korkoro certainly doesn't disappoint. The visuals are beautifully rendered, and the frame is used wonderfully - sometimes with extreme close-ups, sometimes panoramic. Like Robert Guédiguian's latest film, The Army of Crime, the film is set during World War II. According to the end credits, an estimated 250,000 to 500,000 of Europe's 2 million pre-war gypsies died at the hands of the Nazis. This story follows a wandering family of 15 of those.The Germans in occupied France decreed a law forbidding the movement of itinerants and this family find themselves stranded in a town where they seasonally perform farm work, before they are imprisoned in a camp. The family has the sympathy of the town's mayor - who provides land for the family - and the local teacher, Mademoiselle Lundi (Marie-Josée Croze), who is based on the real-life resistance fighter Yvette Lundy.I love this film. Not only does it have all the trademark Gatlif traits: wild depictions of gypsy life, wild music and spurts of insanity, but its presentation of the rarely depicted and tragic part that the Roma played in WWII combine to make this a lovely story.Some of the visuals are amazing, like a sick horse and its gypsy treatment (it'll have you wondering how the hell they got animals to 'act'). The cinematography is superb. The acting is strong and Croze's role is especially beautifully understated. Well worth seeing.