For good or bad, you’ll be in the depths of a prison when you see “A Prophet.” Jacques Audiard, the writer and director of the film, doesn’t just give you a visitor pass to get inside the gate; instead, you are taken into the wards as you follow Malik El Djebena (Tahar Rahim), an illiterate 19-year-old man, through his six-year sentence behind bars.

The reason why Malik landed in this French prison is unclear; however, there are vague references made to him being involved in the assault of a police officer. Malik denies the allegation but still must come to terms with his new life and figure out how to survive while living amongst hardened criminals. He quickly begins to understand the unwritten rules of existing behind bars. Recruited by Corsican Mafia prison boss Cesar Luciani (Niels Arestrup) to kill a fellow inmate Reyeb (Hichem Yacoubi) who may give evidence in an upcoming mob trial, he initially resists – even trying to speak to the warden – but soon realizes that when dealing with Corsican Mafia it is kill or be killed.

Doing anything to survive, Malik appears ruthless as Cesar Luciani’s right-hand man for taking on the dirtiest jobs behind bars and in the outside world on his day passes away from the prison. Audiard does not shield audiences from any of the realities of Malik’s life. Viewers see Malik as he learns how to conceal a razor blade his mouth. A scene that is both vivid and overwhelming. The violence in this film can overshadow the plot at times and sticks with you long after your escape from prison.

The gruesome scenes in “A Prophet,” based on a story by Abdel Raouf Dafri, are spread throughout the nearly three-hour film and distract audiences from the thought-provoking relationships seen on screen. It becomes clear to viewers that Malik’s role with the Corsican Mafia is not enough to satisfy him. In some of the more poignant moments in the film, he befriends fellow prisoner Ryad (Adel Bencherif), begins to learn how to read, and develops his own personal identity that will help him once his prison sentence is completed.

Rahim plays Malik with a delicate balance of toughness and internal fear in “A Prophet,” a French language film that is nominated in the best foreign language film category at this year’s Academy Awards. Throughout the film, viewers see Malik in moments of brutality and weakness as he continually struggles to find his place behind bars. Audiences can’t root for him but it’s difficult to root against him too. While Malik is an interesting character, the length of the film makes it difficult for audiences to form an ongoing connection with him. The filmmakers would have been better served to trim the story and get to the core of Malik’s dilemmas in prison.

One of the strongest aspects of this film, which won the Grand Prix at Cannes, belongs to cinematographer Stephane Fontaine for his inventive use of light and dark. Throughout the film, the prison is dark and gloomy while the outside world always appears bright and full of sunshine. In one scene, Malik stands inside a dimly light prison cell and sticks his hand through the bars – representing his need for the outside world and to be in the sunlight again. The scene allows viewers to see the contrast between life in prison and the free world.

The soundtrack of the film also stands out. Audiard selected a mix of rap and rock music that accents the story in an unexpected way. The music often illuminates the feelings of angst and discord that the prisoners feel as they go about their daily activities. The filmmakers could have made more traditional choices for the music; however, their selections add to the drama on screen.

“A Prophet” is an intense portrayal of life behind bars. From mob activity to the development of friendships, Audiard is careful to show all aspects of prison life. This film is not for everyone – violence and brutality loom large throughout the film. However, it also shines a light on the conditions of prisons in France and the corruption that affects the lives of prisoners like Malik – potentially opening the door for a larger discussion about the way society treats criminals.