This film dramatizes life in the housing projects of 1990s Marseilles, focusing on the early and coercive sexualization of females.

Sexualized situations and conversations are pervasive.

The environment is exemplified by a role-reversal conversation referring to past events.

Racial perceptions are mentioned a couple of times, but not examined in detail.

We see clothed breasts fondled several times; coitus is shown a couple of times, but very briefly.

Girls and women are groped and coerced into sexual activity; see Sex & Nudity.

A boy joyriding in a stolen police car is shot from a distance; we see some blood on the armpit of his shirt.

A young boy says that people shoot at him when he robs their homes.

A man robbing a home is shot in the back at close range; no blood is shown.

A woman opens the door of her home at night and shoots into the air to drive away someone seeking emergency medical assistance.

A man dies of a heart attack; he isn't shown suffering.

People engage in mild scuffles.

A woman breaks glassware in a bar and threatens to burn it down.

In an act of revenge, the home of a man dying of cancer is burned down while he is in it. Once the flames start, we only see this from outside.

As English subtitled, "fuck" is used a few times though not usually sexually, and "goddammit" once. (In French I could only make out "merde".) Occasionally vulgar name-calling or sexual terms are heard, (e.g. "chicken-shit assholes", "Go eat pussy!", "Snatchie", "bastard", "cock", "tits 'n ass", "hard-on"), but it's not pervasive.

A main character is an alcoholic. He is frequently shown drunk in bars and other locations, and this causes him problems with everyday tasks. He doesn't always recognize his own kids, and doesn't know how many he has.

Several people smoke cigarettes a few times, including a couple of main characters.

No other drugs.

Although sexual assault and homicide are central to the story, the surreal presentation -- characters expositing to the camera, flashbacks, fantasy sequences, and active participation by dead people -- reduces the visceral impact and keeps this film from being seriously frightening. Viewers may be (and are probably intended to be) more distressed by the overall social and economic environment this film portrays.

A couple of dead characters return intermittently for extended conversations and some physical interactions with the living, but these are not frightening scenes.

Apparently suffering from some form of mental illness, the main character's mother behaves bizarrely at times, for example taking her daughter's place at school one day.