What to see in theaters
AT THE SAME TIME ★☆☆☆☆
By Benoît Délépine and Gustave Kervern
Collecting clumsy clichés about certain excesses of society, the duo of deliberately hirsute filmmakers make a very slovenly reactionary comedy.
Laurel and Hardy. On one side a right-wing mayor, on the other an elected environmentalist. A drunken night will unite these two opposites beyond reason. So here are Jonathan Cohen (right) and Vincent Macaigne (left), forced into a late-night road movie in a soulless provincial town to fix what needs fixing. At the same time, not-so-astute feminist activists roam the area and, overcome by remorse, try to save our two unfortunate thieves who have been stuffed into these dirty sheets. True to their vaguely anar do-it-yourself cinema, the Delépine-Kervern duo aim to break the norm. But aside from the fact that nothing is really fun, what can we learn from such a show? What right and left are the same? That the environmentalists and the feminists break our ears? It’s stupid and sad, surely unintentional on the part of the two filmmakers. quickly forget.
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FIRST TO MANY LOVED
TALES OF CHANCE AND OTHER FANTASIES ★★★★☆
By Ryusuke Hamaguchi
A young woman who discovers that her best friend has just started an affair, without knowing it, with her ex. A young mother returning to her studies falls under the spell of a successful teacher-author who, by rejecting her advances, causes her infinite pain. A misunderstanding that allows two women to reconcile with a lost being. Three independent stories but united by a common theme: the feeling of love and the labyrinth that makes its way between past and present, through chance and coincidence, to become the common thread -sometimes stimulating, sometimes painful – of our lives. Accustomed to long-term stories (5h17 for Senses3 hours to drive my car), Hamaguchi ventures into the field of short films as the sequence of three stories. But without losing anything of all that makes up the quiet power and bewitching charm of her cinema: the infinite delicacy of her direction, her taste for long dialogues of infinite poetry and fascinatingly complex female characters.
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THE BAD BOYS ★★★☆☆
By Pierre Perifel
behind these bad boys, the latest addition to the Dreamworks stable, is a French director trained at the prestigious Gobelins school in Paris, Pierre Perifel. Here he adapts the adventures of characters from a series of books by Australian author Aaron Blabey. The “villains” in question are animals (a wolf, a shark, a piranha, a snake, a tarantula) specialists in robberies who will try to redeem a virginity for the beautiful eyes of a guinea pig before the uncertain example. Led with a lot of energy, the scenario bets on permanent turns that fire all the firewood at the risk of running out. If the realization, like the animation, does not shine for its originality, the effectiveness is undeniable. On voice, Sam Rockwell does a great job. In vf., it is Pierre Niney who becomes attached to her. ” From 6 years they told us.
A supermodel from Madrid returns home to take care of her sick grandmother, and… That’s it. Well, there’s a fantastic little twist, but nothing really bad or annoying. In fact, it’s not the pointGrandma, which quickly evacuates some contemporary themes that could have been rehired. The film only needs to stage a young woman and an old woman to create an absolutely riveting horror effect: the one that brings about the prospect of having to care for our ancestors at the end of their lives. Having definitely turned my back on the zombie saga RECPaco Plaza lives his best life as a solo director: Veronica It was already an amazing little ’80s possession movie. Grandma he digs the same furrow, summoning the great figures of exploitation cinema (Jess Franco, Jean Rollin) without ever submitting to him.
EMPLOYEE/ BOSS ★★★☆☆
By Manuel Nieto Zas
A young Uruguayan agricultural chief (Nahuel Pérez Biscayart, excellent), overwhelmed between his work and his fragile baby, hires an 18-year-old teenager, just a father himself, who needs money to support his family. His slight age difference allows for an immediate rapprochement in a deal where everyone finds his benefit, until a tragic accident comes along to bring it all down. The social film about class relations then becomes a thriller with an employee who, because of his condition as a victim, has a counterpower tool against his boss. employee-boss recounts this relationship with a keen sense of increased tension, a taste for off-camera and the exchange of glances that say more than a thousand words. And despite an overly rehearsed final straight line, the gripping ambiguity that reigns there elevates the film above average.
By Fabrice du Welz
The starting point ofInexorable is somewhere between Theorem and hand in the cradle : the daily life of an uninspired novelist, his wife and granddaughter, is interrupted by the arrival of a young woman, Gloria, at his enormous residence in the Ardennes… Although we soon guess how it will all end (badly). ), the long introduction of the new Fabrice du Welz is ideal for Chabrolian tension and irony. Manu Dacosse’s grainy photo (“shot on the glorious Super Kodak 16mm”, the credits specify), draws a disturbing world, defective, as if rotten inside, a giallo universe where everything constantly threatens to turn murderous. The actors are all very committed, beginning with Benoît Poelvoorde of the great times, at times moving, ambiguous and pathetic, who takes the film far beyond a simple exercise in style.
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FIRST TO MODERATELY LOVED
By Audrey Estrougo
a few months later supreme, her biopic dedicated to the young years of NTM, here’s a new Audrey Estrougo in theaters. And this time the director has chosen to place a female trio at the center of her story. In this case, a young woman who, on the occasion of her mother’s birthday, comes to spend a few days at her childhood home and finds there her sister sick with schizophrenia and periodically harassed by outbursts of uncontrollable violence that has always complicated these family relationships. Successful in starting her because of her surge of tension that takes you to the bowels, madly she ends up getting lost in her effort to multiply the characters (her father, a boyfriend…) and the stories (a sexual assault experienced as a child…) in the story in just 78 minutes. The oversimplification of psychology brought these parts back to what constitutes the vibrating heart ofTO the aluminum foil it leads to too great an artificiality in certain situations, all the more damaging when it comes to pushing the cursor to the limit, as is often the case here, with the succession of crises. Too bad because the duo Virginie Van Robby-Lucie Debay easily overcomes these obstacles that are put in their way.
WORLD’S END ★★☆☆☆
By Basil da Cunha
The film begins with a baptism and ends with a funeral. The haunting chords of a church organ accompany both ceremonies. They return cyclically throughout the narrative in a mixture of solemnity and lethargy, sacredness and despair. “ Guys, do you smell that garbage smell in the air? asks Spira, 18, eight of whom have spent time in reform school. Here she is back in the neighborhood of Reboleira, a Lisbon shantytown where the prospects do not exceed the mountains of garbage. The filmmaker attached to the faces of his protagonists reduces the space a little more. The rather conventional story unfortunately ends up backfiring on the supposed purpose of the film, presenting this cursed territory as a cutthroat where the population has no choice but to kill each other. In the midst of this chaos the sacrificed lovers make pale figures. ” the end of a world says the title.
By Clara Rochet
Discovered at Critics’ Week, this feature debut features Nora, a 15-year-old Spaniard who sees Libertad, a Colombian her age, whose adventurous temperament makes her fall into adulthood fast. The film recounts the time of the first friendships in life and death, of the first loves also with, in the background, the shadow of the first duels (Libertad’s mother was hired to watch over Nora’s grandmother, sick with Alzheimer’s) and the tense relationships with adults (close to her mother, Nora observes with a curious look the exchanges between Libertad and her, who meet again after years of estrangement). This charming coming-of-age story is sadly too nail-biting to escape an ultra-codified genre that we feel its notable performers are ready to shake up, without really having the hand to pull it off.
THE PREMIERE DID NOT LIKE
LOVERS NIGHT ★☆☆☆☆
By Julien Hilmoine
He is a week away from getting married when he meets her one night at the water’s edge. What begins as a flirtation will lead to a night together, just one, full of desire and questions about the tragedy of love. That’s pretty much all that will move the night of lovers for 1h30. A pensum that takes itself very seriously and tries to unravel the feeling of love, but that sounds hopelessly hollow. We will especially remember the careful photography and the very intense interpretations of Laura Muller and Schemci Lauth, who prevent the film from sinking into parody or filmed theater.
Easter in the history of art by Phil Grabsky
What have we all done to God? by Philippe de Chauveron
Do you know why I jump? by Jerry Rothwell
the rules of the game by Jean Renoir