Aline, Cry macho, Tre piani: What’s new at the cinema this week

What to see in theaters

ALINE ★★★ ☆☆

By Valérie Lemercier

The essential

Far from the expected irony, Valérie Lemercier invents a form of mutant biopic, somewhere between hagiography, post-modern pastiche and fan letter to Celine Dion

A “true-false” portrait of Celine Dion? The heroine of this film is called Aline Dieu, but yet everything in her career is modeled on that of the singer of I’ll go wherever you will go, from the love story with an older pygmalion (here named Guy-Claude) to the residency shows in Las Vegas. Valérie Lemercier invents with Aline a form of mutant biopic, at the crossroads of hagiography, postmodern pastiche, transformist cabaret and fan letter. A very singular object, able to reconcile the TF1 prime-time audience and fans of experiments arty of a Todd Haynes. A kind of Quebec version and good franquette ofA Star is born, with a little wise musical sequences (the big downside of the film) but carried by a band of Canadian actors unknown in our latitudes (Danielle Fichaud, Sylvain Marcel, Roc LaFortune…) and absolutely fantastic.

Frédéric Foubert

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By Aïssa Maïga

Ecology inspires a growing number of filmmakers with the result of committed films, eminently sincere but often lacking in cinema, as prisoners of the message to be conveyed. Aïssa Maïga not without superb avoids this pitfall with this feature-length documentary for which she posed her camera for two years in a Nigerian village, victim of global warming. Since it now takes miles to fetch water, which disrupts everyone’s life, starting with children who are too exhausted to attend normal schooling. Walk on water is the reverse of a school documentary. No redundant voice-overs or explanatory interviews in front of the camera but faith in a story, in strong characters (the charismatic 14-year-old teenager, at the center of the story) and in her desire to inject into the image beauty in this tragedy. The (beautiful) film of a (real) filmmaker.

Thierry cheze

BARACOA ★★★ ☆☆

By Pablo Briones

Honestly, the beginning of this documentary set in Cuba is a bit boring: the camera hangs out with two kids playing and bickering between two vacant lots, with no other goal than to convey childhood. And then, little by little, over his camera, which is in turn intimate and aerial (the plans of the city as an end-time zone), Baracoa takes on another dimension: that of a study of the construction of virile identity, through these young people who hang out together and fight, and above all treat each other as maricones (“Queers”) at the slightest sign of weakness and passivity. The epilogue is, depending on your level of faith in humanity at the moment, either nicely hopeful or radically pessimistic.

Sylvestre Picard

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CRY MACHO ★★ ☆☆☆

By Clint Eastwood

The trailer for this movie was perfect. Beautiful to cry. This title, already, Cry Macho, which leaves the shivers down and sums up a journey, like words carved on a tombstone. The dialogues, uttered in a sepulchral voice, which sounded like a definitive commentary on the Eastwoodian legend. And then that 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 mule, where Eastwood was already showing himself naked, as if at the end of the road. Cry Machohe rehashes and dawdles. The story is a pretext: Clint goes looking for a runaway teenager across the border and brings them back to Texas, him and his fighting cock named Macho. As the ex-Dirty Harry is no longer very young, he takes plenty of naps during the film, and the chef-op ‘Ben Davis takes the opportunity to immortalize him as a recumbent, a tear imperceptibly running down his cheek . Eastwood has often given us the twilight film, but we shudder, as always, at the idea that this one could really be the last.

Frédéric Foubert

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A GOOD MAN ★★ ☆☆☆

By Marie- Castille Mention- Schaar

Marie- Castille Mention- Schaar likes social issues. After the question of the transmission of the horrors committed by the Nazis (The heirs) and the Islamist radicalization of Western teenagers (The sky will wait), she tells the story of the desire for a child in a transsexual still in the transition phase who decides to wear the one he will have with the young woman who has shared his life for 6 years, infertile. A courageous gesture because there are many blows to be taken in venturing into this field between the shocked reactions of her empathy for her characters and those who deny her the right to deal with this subject, not being trans herself, like entrusting the role of a trans to a cisgender actress. However, Noémie Merlant delivers a fascinating performance in this awkward film. As if, aware of walking on eggshells by talking about gender and identity, the filmmaker never managed to free her story from an overly pedagogical straitjacket.

Thierry cheze


By Ann Sirot and Raphaël Balboni

Arrive after The Father and Everything went well, other films centered on characters gradually losing their physical or cognitive capacities play against this first feature film by Ann Sirot and Raphaël Balboni. These showcase a flamboyant sixty-something art collector devoured by Alzheimer’s and the collateral damage this incurable disease has on her son and his partner who are simultaneously trying to have a child. The Sirot-Balboni duo here takes the party to refuse the despondency often linked to these situations, to distill humor in absurd everyday situations. To laugh about it as much as to cry. They sign a flawless film, never tearful but too scholarly to fully convince. They illustrate the subject instead of taking hold of it, even if it means provoking, like Zeller or Ozon, violently contradictory reactions in his viewer. Pity.

Thierry cheze


By Anaïs Barbeau- Lavalette

In the heart of the 90s, Mia lived a very sex, drugs & grunge… n’roll adolescence, while her parents were in the midst of separation. Never leaving these red cowboy boots, she dreams of being the heroine of Pulp Fiction, has for bedside book Me, Christina F, drugged, prostitute and a crush on a handsome blonde with the look of Kurt Cobain. Anaïs Barbeau-Lavalette recounts her rebellion and her slow drift towards increasingly strong addictions. Without revolutionizing the genre of initiation narrative, she manages to capture and transmit the essence of this so-called ungrateful age, the constant back and forth between euphoria and distress, this rage that can give rise to outbursts of violence that are impossible to control. Atmosphere film, The goddess of fire flies disappoints when he sticks to his story and unfolds the most programmatic aspects of it to an inevitably expected end. A rebellion… against his scenario would have been welcome!

Thierry cheze


TRE PIANI ★ ☆☆☆☆

By Nanni Moretti

Nanni Moretti adapts the novel ” Three floors From the Israeli Eshkol Nevo and transposes it from Tel Aviv to Italy. In an opulent Roman building, three families will experience stories that will end up intertwining. After a fatal car accident, the film follows a pregnant woman whose husband is never there and who fears going nuts, before dwelling on the pangs of a man who suspects his elderly neighbor of having sexually assaulted his daughter … These stories of characters twisted (by remorse or pain) will be spread over time ellipses over ten years. From the shattering opening, the ambition is clear. With this building symbolizing all human impulses, these characters who each embody an emotion, Moretti wants to embrace all the evils that plague contemporary society: the crisis of parenthood and institutions, toxic masculinity, the war of the sexes, migrants … With its biting irony its breaks in tone, the novel did not go dead hand. Confession of helplessness or simple loss of form, Moretti chooses a placid and bitter cinema, confined to his obsessions of yesteryear (on male-female relationships in particular) and weighed down by an anemic staging that takes Tre Piani on the land of soap. It is all the more regrettable that at times (fleeting) we catch a glimpse of the threads that Moretti could have followed: that of a film of a haunted house mixed with social melody or the portrait of this woman whom solitude plunges to the confines. madness and who does everything to escape it.

Gaël Golhen

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By Ed Antoja

This documentary is a textbook case. The very type of the film kneaded with the best intentions which furiously makes you want to think the opposite of what we are hit with. Let us pass on the banality of its realization and the unbearable music which accompanies it, the problem lies well beyond. In Empathy, the director Ed Antoja stages himself in full immersion in the world of the animal cause and veganism, where every meat lover is the great Satan. And very quickly we understand that his universe will be divided between very nice good people seen as untouchable saints and very bad bad guys who we can happily and without limit laugh the face. Empathy asserts so-called truths by privileging testimonies to proofs and without showing anything that we already know. He refuses any contradiction as if he were going to get dirty in the dialogue. A pure propaganda film.

Thierry cheze

And also

Between two trains by Pierre Filmon

High fashion by Sylvie Ohayon

Go ? by Mary- Noël Niba

The recoveries

As autumn approaches by Mikio Naruse

Latest chrysanthemums by Mikio Naruse

João de Deus, shadow and light by Michel Meignant

We whisper in the city by Joseph L. Mankiewicz

Out of the blue by Dennis Hopper

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