What to see in theaters
DIE CAN WAIT ★★ ☆☆☆
By Cary Joji Fukunaga
Daniel Craig’s last lap in 007 seeks fun and emotion, sometimes succeeds, but above all is very long
Strangely mocking in a series that has been playing the card of the most absolute seriousness since 2006, To die can wait is very convincing when he sees – finally! – James Bond again as an essentially very entertaining film. The problem is to remain distracted for 2h43 (we count the credits in it). However, on this point, it is clearly missed.
Because after a messy credits without any real guiding idea, and a formidably effective hour, the power of the franchise takes back its rights (while remaining curiously very poor in terms of pure action), literally crushes Craig, and therefore what was the strength of his Bonds: his individuality. Surrounded by the more or less inspired supporting roles (Lashana Lynch is an excellent sidekick, while Ben Whishaw and Ralph Fiennes seem washed out), Craig gradually disappears before our eyes, and the film unfolds, endless, like a clone of Impossible mission.
In the end, the feeling that will cause in you To die can wait will depend more on your attachment to a franchise than to an actor. Is this good news? For the industry, obviously yes. James Bond will return, no one doubts it.
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FIRST HAS A LOT LIKE
TRALALA ★★★★ ☆
By Arnaud and Jean- Marie Larrieu
Everything in the playful cinema, anchored in reality and yet always a little elsewhere, of the Larrieu had to lead them towards the musical comedy. But in their hands, at the same time totally in the genre and a little beside it therefore. Or the relationship that their main character maintains with existence. His name is Tralala, a celestial tramp who squats in a demolished building when, in Paris, he has an apparition. A dressed young girl from Lourdes who, evaporates as she arrived, and that he will go to find in his city (the birthplace of the Larrieu), the city of all miracles, where a family will decide to recognize as one of his own. A son who has been missing for 20 years and awaited as the Messiah. The pretenses, the lies that we prefer to invent to escape a too gloomy reality are in power in this comedy which happily mixes musical genres, each character having his appointed composer. A polyphony that never rhymes with cacophony because the art of the Larrieu’s craziness is based on great mastery. And its wonderful soloists (Mathieu Amalric, Mélanie Thierry, Josiane Balasko, Bertrand Belin…) give voice with generous enthusiasm and unquenchable faith in cinema.
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DELPHINE AND CAROLE, INSOUMUSES ★★★★ ☆
By Callisto McNulty
Everything was already there: this documentary which follows the video adventures of actress Delphine Seyrig (who reinvents herself as a feminist filmmaker and sees her career sabotaged) and her friend Carole Roussopoulos, this documentary retraces the feminist struggles of the 1960s and 70. And gives at the same time a sacred fishing – by the energy of its main actress and its positions of obvious common sense – and a good blow of depression – since all the debates are already there, for decades, and that the battle is far from won. Place of women at home, in sexuality, in the media, in culture, all through the appearance of video as a means of filming in freedom … The film would have largely deserved to go out of its duration, a little too short in relation to its fascinating subject.
HONEY CIGAR ★★★ ☆☆
By Kamir Aïnouz
How do you take ownership of your own desire, faced with worrying parents who are suffocating and a loving boyfriend who is too impatient? This is the question that crosses this first feature whose action takes place in 1993, at the heart of the Algerian black decade. Selma, 17, lives with her family of Berber origin in Neuilly and sees her cocoon crack. Starting with the family balance where, faced with what is happening in Algeria, his father and mother are divided on the behavior to be taken: to settle there as an act of resistance or to remain wisely in France? The story of emancipation proposed here by Kamir Aïnouz is therefore placed on a double ground, intimate and political. The story is based on characters never Manichean, loving certainly but awkward in their love, castrating without noticing it. And the filmmaker tackles the question of the body head-on, as in this violent scene where Selma decides to free herself from her virginity with a cucumber. In this role, Zoé Adjani impresses with her ease in wandering around the multitude of contradictory feelings her character experiences.
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MY LEGIONARY ★★★ ☆☆
By Rachel Lang
Here and elsewhere. Here it is also a little elsewhere. And the Corsican mountains end up merging with the immensity of the Sahara. The landscape becomes mental and masterfully personifies the story of this second feature film by Rachel Lang (Baden, Baden). At the back, there are families who live while waiting for the return of the soldier who has gone to fight in a Sahel under tension. The Foreign Legion, the embodiment of military righteousness, offers more than any other a straight line logic. Rachel Lang will however show the porosity of things and especially this otherness that the army would especially not want to see. How to build a home when one of its members is too absent a body? my legionary shows with great delicacy, grace and acuity, this constant coming and going, between the intimate sphere to be preserved but which we can feel is slowly cracking, and the battlefield where repressed affects can be transformed into dull tension. But it is also a story of initiation, where how the youngest, confused, try to lean on the most experienced and sometimes, the most tried.
LITTLE SISTER ★★★ ☆☆
By Stéphanie Chuat and Véronique Reymond
Childhood friends, Stéphanie Chuat and Véronique Reymond have been making films together since the mid-2000s. Ten years after their first feature, The Little Room, they return to fiction with a beautiful portrait of a woman. A German playwright who has chosen to sacrifice his career for his family, by following her husband, director of an upscale college, to Switzerland. But when he decides to renew his contract without consulting her, Lisa feels trapped, struck at the same time by the announcement of the serious illness of her brother, a theater actor, who only lives to return to the stage. From these stifling situations, the filmmakers draw a subtle reconstruction story in which saving her brother by writing a monologue is like saving herself, allowing herself visibility again. Without pathos but with a sense of tension in the story, Little sister, worn by the always perfect Nina Hoss, just touches.
GAZA MY LOVE ★★★ ☆☆
By Tarzan Nasser
What do we generally see in Gaza, if not human distress? On the spot, the cinema therefore seems doomed for its sole documentary value to bear witness to the Israeli bombs which are ravaging “the Strip”. Twin brothers Tarzan and Arab Nasser discovered at Critics’ Week with Degraded in 2015, prefer to talk about love. Here is Issa, a fisherman, in his sixties tired and Siham, a rather withdrawn seamstress. They first glance at each other. Neither dares to believe a possible passion. And then there is this ancient statue with a strangely protruding penis that Issa extracts from the abyss. All the poetry of the film can finally ignite. Here is a soft feature film that emanates as much from the finesse of its writing as from the grace of these two formidable performers. Haven’t you seen anything in Gaza? Yes, a beautiful love film.
7 DAYS ★★★ ☆☆
By Yuta Murano
A group of Japanese teenagers decide to run away for a week in order to taste freedom one last time before the return to school and the separation of their small group. While squatting in an abandoned factory, they will come across a small illegal refugee whom they will protect against the police. Well, it is surely not for its animation – clean but hopelessly banal – that 7 days retains the interest, but for its subject and its writing: this praise of the freedom and the welcome of the other resonates very strongly in our time, uh, complicated on that. But no pompous self-righteousness here: this subject provides the material for a cheerful youthful adventure film, where teens use their skills and cunning to resist law enforcement and conduct a siege in good order. Freedom !
BOOTH ★★★ ☆☆
By Alexandra Pianelli
They have been in the streets of our cities for years but are gradually disappearing. At the end of the chain of the press crisis, the kiosks are dying in an almost general indifference. Daughter, granddaughter and great-granddaughter of kiosks, Alexandre Pianelli tells the daily story by taking the place of the saleswoman with his cell phone as a camera. Plastic artist by trade, she uses clever finds in her production without abusing them to tell how it works. The look she casts on regulars as well as passing customers is never picturesque. He transpires with a humanity which is that of the final rendezvous. Because the joyful lightness that surrounds this documentary contrasts nicely with its end that we immediately know inevitable: the closure of this neighborhood institution. Being nostalgic but never backward looking, that is the strength of this Kiosk.
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FIRST A MEDIUM LIKED
FATIMA ★★ ☆☆☆
By Marco Pontecorvo
In 1917, three Portuguese children received the vision of the Virgin Mary who performed some small miracles and delivered prophecies. Kids are going to be a popular phenomenon. This account of the apparitions of Fatima begins from the angle of doubt (via the character of Harvey Keitel, taking the account from a skeptical point of view), and it is very well played by a bunch of well-led actors ( always a pleasure to find the excellent Goran Višnjić), and rather well filmed by Marco Pontecorvo, with his know-how as a director of photography on Rome Where Game Of Thrones. But in the end, Fatima chooses its camp: that of a film which has faith, against all odds – like its distributor, SAJE, specialist in “Christian-inspired films”, and which recently distributed the anti-abortion film Unplanned. For information !
Himalayan Warriors by Jerzy Porebski
Hands in the earth, birth of an ecovillage by Antoine Trichet
A bigger splash by Jack Hazan
The Double Life of Veronique by Krzysztof Kieslowski
Her and him by Leo McCarey
Pony by Jacques Doillon
Therese by Alain Cavalier