Cut!, Detective Conan, Run Away, I’m Following You: New to theaters this week

What to see in theaters

CUT! ★★★☆☆

By Michel Hazanavicius

The essential

Michel Hazanavicius remakes a Japanese graduation film with a strong concept and signs a delirious comedy where his dirty kid side works wonders

We’re not going to lie. The start of Cut! scary… and not for the right reasons. In the zombie film that unfolds before our eyes, the more than hazardous acting of the actors bristles the ears and lets fear the worst. Before realizing that this is only the first round played by Hazanavicius with this remake of Don’t cut! (cult Japanese film released on the sly in France in 2019) which is based on a concept as simple as it is implacable. A waltz in three stages: first this zombie film where the approximation reigns supreme, then the behind-the-scenes of its production and finally the making-of of the shooting, where we relive the first part under different angles. The result is irresistibly funny. Certainly the pleasure will be reduced for connoisseurs of the original. But after a command movie (The Forgotten Prince), Hazanavicius isn’t just handling this remake in cushy mode. He seizes it by revisiting his own journey. Cut! playing with a multitude of types of humor (physical, absurd, situations, jokes, etc.), there are scents of The American Classof My friendsofOSS and Formidable. The filmmaker releases his dirty kid side but never loses control, relying on the strength of his direction of actors (it takes talent on both sides of the camera to play falsely out of tune and Duris, Bérénice Bejo, Oldfield , Gadebois, Zadi & co are not lacking) and his desire to arouse emotion beyond laughter. This part divided our writing. But the festival of giggles that precedes wins the piece.

Thierry Cheze

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By Susumu Mitsunaka

Last year, The Scarlet Bullet was enough to leave the uninitiated in the fandom of the franchise on the platform Detective Conan. Good news : The Bride of Shibuya, the new film in the series has enough intrinsic qualities to satisfy anime fans in the broadest sense and not just the dingoes of little detective Conan, a young adult with a genius brain stuck in a kid’s body. First by finding a more elegant way to stage its obligatory passages (the reminder of the genesis of the hero who appears on the giant screens suspended from buildings in Tokyo, a great idea for cinema). But above all by changing its fundamental spring: rather than a police camera, The Bride of Shibuya turns out to be a true action film with international ramifications. Certainly we neither at Bourne nor at Bond but the film deploys an energy of cinema which carries you away to never let go.

Sylvester Picard

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By Koji Fukada

At the beginning, there is a manga by Mochiru Hishisato which Kôji Fukada seized first in series then in the form of this diptych. The opportunity for a filmmaker to try his hand at love fresco. The story of the employee of a fireworks company whose heart, which swings limply between two office colleagues, suddenly catches fire for a young woman rich in secrets met by chance. The title of the two films perfectly sums up the framework of the plot – the object of his passion will continue to mysteriously disappear when he tries to approach it and then to tumble back into his life when he has decided to leave. forget – but not the way Fukada brings her to life on screen. In a register of thriller where hovers a supernatural atmosphere à la Lynch. And in the way of seizing the myth of the femme fatale to deconstruct it. The filmmaker revisits the codes of romantic comedy with a new playful tone in his work. There are certainly air pockets during the 4 hours of the story, but nothing that jeopardizes the essential: the fascination exerted by these characters and the inability to anticipate what they are going to do in the second that follows.

Thierry Cheze

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By Kornél Mundruczo

After a detour through “Oscar-winning” American cinema (Pieces of a womanwith Vanessa Kirby and Shia LaBeouf), Kornel Mundruczo returns to a more austere, more intimidating form, with this film which almost resembles a contemporary art installation. Evolution is a succession of three sketches, drawing the story of a Jewish family, from the Holocaust to today, where the director continues his experiments on the sequence shot, its ability to twist time and ‘space. If the film unfortunately ends on a segment that is a little heavy, too didactic, celebrating the hope of a better tomorrow in a Europe still in the grip of its fascistic demons, the first two are astonishing – in particular this unforgettable nightmarish opening in a camp of Nazi extermination, which confirms the sometimes telluric power of Mundruczó’s cinema.

Frederic Foubert

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By Takahide Hori

This animated film takes us into a future where humanity has managed to achieve near-immortality, while losing – through the genetic manipulations necessary to achieve this – the ability to procreate. And in an attempt to reverse the situation by finding the secrets of reproduction essential to human survival, a high-tech humanoid robot is sent to an underground city, populated by mutant clones ready to rebel against their creators. Takahide Hori’s film can be read as the inverted mirror of Wall-E from Pixar. In this dystopia, all hope of humanity appears to be gone forever. And the fact that we understand it very quickly encloses the story just as quickly in a succession of repetitive loops that could go on for hours without adding anything to this portrait of a future that is written in black. very very dark, for lack of digging possible side roads just flown over and barely sketched. But this weakness of the scenario does not damage in any way what makes the strength of Junkhead : the fascinating quality of its stop-motion animation and its playful way of playing with the different references (from Dune to the Matrix via Star Wars or even Alien) which constitute its totally assumed sources of aspiration. Too bad then that here the content never manages to rise to the level of the form.

Thierry Cheze


By Jean Heches

In the cinema everyone manages more or less with reality. Some authors willingly accept to bring it into the very life of their film. Jean Renoir even spoke of “a devastating current” which forced him to bow. Here, the “current » is Philippe Larcher, a big guy, hair flying in the wind who, like his character, drags behind him more than twenty years in prison for homicide and tries to find meaning in this cumbersome newfound freedom. The filmmaker Jean Heches captures on the spot this encounter between a being and his double with all that this implies of approximations, trial and error, but also of vitality and freshness. The imagination arises with the arrival of a young woman (Ruby Minard) engaged in a fight whose contours we do not quite manage to grasp. The transplant takes miraculously without devastating us.

Thomas Bauras

And also

I love what you do by Philippe Guillard

Van Gogh in love by Jean-Luc Ayach


The Squirrel who saw everything in green by Behzad Farahat and Nahid Shamsdoust

Other people’s wives by Damiano Damiani

Mortal sin by John M. Stahl

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