How does one analyze the cinematographic image in sociological terms? As soon as we start to focus on one or many films, a methodological problem occurs. To analyze Les Choristes, the number one French box office film in 2004 (and a mirror on 2004 French society) according to Alain Malassinet’s theory, a comparison arises with the original version, La Cage aux rossignols (1945). The differences between the original and its remake allow Les Choristes to be considered on three points: the child in our society; the place of the institutions; and the end of social disparities, replaced by natural disparities. The author questions whether these few themes truly reflect French society in 2004.