All the video on demand releases of the week.
Every week, we offer you the latest VOD releases on the brand new Première Max by Videofutur service, available on Mac and PC, Android and iOS. Here are the urls to access it:
Macs & PCs: www.premieremax.com
With Alinean evocation both scrupulous and totally fanciful of the career of Céline Dion (renamed Aline Dieu), Valerie Lemercier is trying something new: the fan biopic. A declaration of love, a chilled letter sent by an assumed midinette to her idol. She embodies it with a smile on her lips, yes, but never mocking or ironic. When she plays Aline at age five in the first scenes of the film, it’s not just a nod to her parody of fan school with Dummies, but a way of saying, with the help of a funny special effect, to what extent children who are born with a voice like that of Celine Dion are creatures apart, condemned to evolve like aliens in the midst of of ordinary mortals.
Valérie Lemercier is such a fan of Céline Dion that she seems almost intimidated to play her, sometimes as if absent from her own film, refusing the idea of a performance à la Jérémie “Cloclo” Renier. The music scenes, surprisingly straight, lack madness. But this restraint has the advantage of leaving the field open to a fantastic band of Canadian actors unknown in our latitudes (Danielle Fichaud, Sylvain Marcel, Roc LaFortune…) who give the film its extra soul. Also considering Aline like a troupe film, Valérie Lemercier avoids the pitfall of idolatrous delirium. And invite everyone to play with it.
The trailer for this movie was perfect. Beautiful to cry. This title already Cry Macho, which gives the chills and sums up a journey, like words engraved on a tombstone. The dialogues, delivered in a sepulchral voice, which sounded like a definitive commentary on the Eastwood legend (” This macho thing is overrated “). And then this face, emaciated, that of a 91-year-old superstar, the most enduring in the history of cinema. This appetizer was in fact so effective that the film next to it seems almost superfluous. Especially after The mulewhere Eastwood was already showing himself naked, as if he had reached the end of the road. Cry Macho, he harps and dawdles. The story is a pretext: Clint goes to look for a runaway teenager from the other side of the border and brings them back to Texas, him and his fighting cock named Macho. Loosely put together, the plot nevertheless conceals a pretty idea: on the way, the old man and the kid stop in a Mexican town and, for a moment, secretly hope that nothing will make them leave. What if time stood still? It wouldn’t be unpleasant; one could contemplate for eternity the parchment face of Clint Eastwood.
Nicole Garcia’s cinema never tries to be friendly. For 30 years, the actress who has become a filmmaker has been producing dramas whose essence is love put to death. His modern tragedies depict men or women trapped in their excessive feelings. Four years after the disturbing Evil of stones, the director continues her exploration of female torments. Because the heroine oflovers, it’s Lisa (Stacy Martin), this young woman caught between the love of the past, Simon (Pierre Niney), a little thug who reappears years after having evaporated and the husband of the present time, Léo (Benoît Magimel ), more stable businessman. If the dilemma seems to be articulated for the young woman between passion and reason, the intrigue is revealed gradually, by layers, much more complex, and this thanks to the rather troubled and brilliantly interpreted character of the husband. Everything left unsaid, Magimel opposes a Pierre Niney with silences and looks that raise the tension.
– War Hunt