Claire Simon has long been interested in school environments, as seen in her 1992 film Récréations and her earlier documentary Apprendre, which captured the daily lives of primary school classes with close-up filming and no interviews or commentary. Her latest work, Écrire la vie: Annie Ernaux racontée par des lycéennes et des lycéens, follows a similar immersive approach but with greater complexity. The film was created after French author Annie Ernaux won the Nobel Prize for Literature in 2022. Simon traveled to several French high schools, from Cayenne to Villefranche, to document classes focused on Ernaux's books, including Les Années. The film typically begins with the name and location of each school before showing the class session. Some scenes include discussions that take place outside the classroom, without the teacher present. During the classroom segments, the camera follows the flow of speech, allowing students to explore their thoughts on Ernaux's writing. They discuss the emotional impact of her "flat writing" style, critically analyze the toxic romantic relationship in L'Occupation, or reflect on the discomfort caused by the explicit descriptions of abortion in L'Événement. Through close-ups of students' faces, Simon captures the process of forming and expressing thoughts, akin to a form of guided discussion where students relate their personal experiences to Ernaux's work. These exchanges suggest that Ernaux's deeply personal writing resonates with a wider range of experiences. The film highlights the role of the school setting, where teachers remain in the background, encouraging open discussion without interrupting students' interpretations. One scene in Cayenne reflects an egalitarian approach to education, similar to the ideas of philosopher Jacques Rancière in Le Maître ignorant. During a discussion on the use of everyday language in Ernaux's work, a student shares her personal relationship with Creole and then teaches her classmates and teacher some words at the blackboard. Claire Simon's depiction of classrooms differs significantly from those usually shown in cinema and from the typical conditions of high school teaching. Each class appears to proceed smoothly, with all students having read the texts and willing to participate. However, the film leaves some questions unanswered: Are these students in a specific academic track? Are these classes open only to volunteers? These details may seem minor, but they arise repeatedly as the film portrays school as a space for personal growth. A notable moment in the film is a minute of silence held in a high school courtyard to honor Samuel Paty, a teacher killed in 2020. This moment contrasts with the rest of the film, highlighting the filmmaker's respect for the French school system and educators. However, this portrayal suggests a uniform idealism that does not question the limitations of education. It also creates a tension with the film's immersive style, which initially appears to be non-interventionist. As the film progresses, it becomes clear that some of the discussions were likely organized for the filming, and the students' interactions still seem influenced by the presence of the camera, even if they are not trying to impress a teacher.