What to see in theaters
NORTH BIN ★★★★ ☆
By Cédric Jimenez
Six years later French, the Marseillais Cédric Jimenez is back in his hometown for a hard-hitting thriller carried by a trio of hell: Gilles Lellouche- François Civil- Karim Leklou
Initially, there is a true story dating from 2012 and not yet definitively judged: 18 members of the Marseille BAC referred to correctional for drug trafficking and racketeering. Cédric Jimenez seizes it by focusing on three of these police officers and makes societal and spectacular rhyme. He tells of a system that relentlessly crushes individuals – seeking to explain without justifying them methods that blithely defy the rules – while signing an action film that regularly stuck you in your chair. Starting with a central scene of assault inside a city, like a Marseille echo to that of Les Misérables. Two cousin films that complement each other without ever stuttering. The director of La French signs his best film to date, relying moreover on the complicity of the Lellouche-Civil-Leklou trio who give themselves wholeheartedly in characters bigger than life.
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FIRST A LOVED
DRIVE MY CAR ★★★★★
By Ryusuke Hamaguchi
Let’s say it right off the bat, the new film from the director of Senses, Screenplay Award at Cannes, is a marvel. A madly romantic film adapted from a short story by his Murakami with the central character Yūsuke, a theater director whose specialty is to produce classics by bringing together actors of different languages. The prologue of Drive my car (the credits do not appear until after 45 minutes!) takes the time to set things up and in particular Yūsuke’s relationship with his wife Oto, a TV scriptwriter, whom he discovers that she is cheating on him without her noticing realizes it, before she suddenly dies without him having been able to put this subject on the table.
How to grieve in the face of a situation that has remained in abeyance forever? This is what the following 2:15 will tell when Yūsuke goes to ride Chekhov in a festival with his antique Saab in which he has the ritual to listen to the recordings of the dialogues of his upcoming play. A reading where … his wife gave him the answer. Every day, he therefore hears the voice of the one whose disappearance makes him inconsolable, led by a mutic young woman who, over the course of the journeys, opens up to him. Drive my car will then multiply the characters (a Korean assistant and his deaf wife, his wife’s lover, TV star, whom he wanted to direct …), take the time to tell each person’s story without losing sight of the spine of the story: this long work of mourning. Each mini-story deserves a film in itself, but it is the bringing together of all of them that creates the ever overwhelming power of this fresco of incredible delicacy.
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LOULOUTE ★★★ ☆☆
By Hubert Viel
It is the conjunction of a painful event (the sale of the family farm) and a happy coincidence (her first love which arrives in the establishment where she teaches) that will plunge Louise back into her childhood. These 80s when the carefree happiness on the farm of his parents was quickly overtaken by the milk crisis which weakened them. Through back and forth past – present, Hubert Viel speaks with the same enlightened delicacy of that part of childhood that remains in us, for better or worse, of the question of transmission as the roots of the malaise of the crisis. agricultural. His Louloute takes as much from the tale as from the naturalist chronicle, summons both Miyazaki and Pialat, playing on the almost mythological side that the 80s keep for those who lived them, children. A film of sensations that questions the memories we build to flee a reality that has become unbearably banal.
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SUMMER WHITE ★★★ ☆☆
By Rodrigo Ruiz Patterson
Rodrigo is 13 years old. His mother Valéria raises him alone in a fusional relationship which makes the daily presence of a third party complex. So when Valeria falls in love with a man and settles her new boyfriend in their house, on the outskirts of Mexico City, Rodrigo’s jealousy will take more and more uncontrollable forms, facing the end of this exclusive relationship that was his. cozy cocoon. On the theme of passionate mother-son love, the Mexican Rodrigo Ruiz Patterson signs a film under high tension where the rivalry between this teenager and his potential father-in-law will not cease to create an uneasiness all the more growing as the Conflict explosion is long overdue as the destructive impulses of this top beloved son seem more and more out of control. A first feature film of great mastery.
FIRST DIDN’T LIKE
THE FANTASIES ★ ☆☆☆☆
By David and Stéphane Foenkinos
Gamophilia (being turned on by the idea of playing a role), dacryphilia (being turned on by tears), sorophilia (being turned on by the sister of the loved one), thanatophilia (being turned on by death), hypophilia (being excited not to make love anymore), autagonistophilia (being excited to be watched while making love)… These are the 6 fantasies chosen – from a list of 250 – by the brother David and Stéphane Foenkinos – to respond favorably to the proposal of two other brothers Eric and Nicolas Altmayer (OSS 117): sign a remake in their hands of the Australian choral film from 2014, which has remained unpublished in France, If you love me, each of whose subplots developed the idea of a different fantasy. We can see what attracted the directors of Delicacy and Jealous in this adventure. The idea for these crazy lovers of actors to bring together a four-star cast mixing actors with whom they had already worked (Karin Viard, Joséphine de Meaux, Corentin Fila, Marie- Julie Baup) and many newcomers in their family (Jean- Paul Rouve who had adapted Les Sentiments de David Foenkinos as director, Ramzy Bedia, Céline Sallette, Joséphine Japy, Monica Bellucci, Carole Bouquet, Suzanne Clément, Denis Podalydès, William Lebghil…). But the short format does not suit the duo very much, much more at ease in the romantic which unfolds over the long term. The laughs sought are absent from subscribers, the gags seem telephoned, a lot of situations drag on in spite of the brevity of each one inherent in the exercise of the film with sketches, the moments of emotion are struggling to gain momentum. We find ourselves in front of an oiled and rhythmic machine but which runs empty, as on automatic pilot. Without doubt Stéphane and David Foenkinos need a subject which really leaves them to express this sensitivity which makes the salt of their cinema
Be careful at the start! by Benjamin Euvrard
Boss Baby 2: A Family Affair by Tom Mc Grath
The Chessboard of the Wind by Mohammad Reza Aslani