Elizabeth- look (s) singular (s)-, Official competition, It’s beautiful! : What’s new at the cinema this week

What to see in theaters


By Roger Michelle

The essential

The late director of Love at first sight in Noting Hill tells the story of the Queen of England in a playful documentary rich in unpublished archives. The most beautiful way to celebrate your jubilee!

A few weeks after the tasty The Duke, a new posthumous work by the late Roger Michell hits the big screen. For Elizabeth II’s platinum jubilee, celebrating 70 years of her reign, the director of Love at first sight in Noting Hill undertakes to tell it in its moments of representation as in intimacy. And his documentary turns out to be a great success. By the quality of the images brought together, many of which have never been seen before. By his ability to make it short. But especially by its construction which, fleeing the ease of a chronological account, opts for a playful thematic chaptering which makes it possible to mix personal archives of the royal family and the way in which cinema, television, music and even the Olympic Games (the ceremony of those in London with a sketch featuring Daniel Craig/ 007) seized on this iconic figure of our contemporary history.

Thierry Cheze

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By Xavier Gayan

At a time when the Cannes jury has just crowned the uninhibited cynicism of Swedish Ruben Ostlünd and his Without filter, it is good to listen to the French psychoanalyst Roland Gori in this portrait dedicated to him by Xavier Gayan. His film takes the form of a conversation in which this man, committed against the violence of our commercial society, shares his thoughts with saving clarity. We hear, for example, this projection against the dictatorship of algorithms: “ Numbers become a way of giving orders. “, but also a celebration of poetry as a remedy for the laws of the market or even jokes told with delight during very serious conferences. In short, here there is no easy irony, no unhealthy excesses or filters to embellish things, but a relevant way of rethinking our world. In short, a terribly stimulating film. .

Thomas Bauras



By Mariano Cohn and Gaston Duprat

After the universe of literature (honorary citizen) and paint (A masterstroke), the Cohn-Duprat duo deploys their small, perfectly oiled satirical arsenal in the small world of cinema. The one that a billionaire businessman wants to try to penetrate by hiring the best to win a major festival prize. Three polar opposites – a director with an iron fist… in an iron glove, a radical theater actor and a capricious star actor – but with an oversized ego in common. The duo assumes the caricature and their interpreters, Antonio Banderas, Oscar Martinez and Penelope Cruz have a field day in a carefully orchestrated histrionics. But by leaving them in charge, the directors forgot to deepen and energize the story, over the course of very long 110 minutes with little researched twists. We have known them to be more inspired.

Thierry Cheze


By Christos Massalas

There is Almodovar in this first Greek feature film featuring a young runaway dancer taken in by pickpockets squatting in an abandoned leisure complex in Athens and who will gradually become their accomplice by giving street performances allowing them to distract passers-by while they steal their wallets. Before the arrival of another man with a battered face, also picked up and then disguised as a woman to escape a powerful local thug, adds amorous passion to this already explosive universe. Adept at mixing genres, Massalas deploys a story between thriller, musical comedy and social chronicle (that of a Greece still suffocated by the crisis) with a more than seductive queer and sensual atmosphere. But the form ends up taking precedence over a scenario that ends up getting lost in the multiple sub-narratives that it develops in 97 minutes, which are necessarily insufficient not to remain too much on the surface for some. An unfinished gesture, but damn promising.

Thierry Cheze


By Nathalie Alvarez Mesen

It’s a body whose mystery and wounds we don’t immediately manage to grasp. This body is that of Clara, which advances in the frame with enough strangeness to monopolize all the attention. Clara is 40 years old, lives in a remote village in Costa Rica, under the yoke of her mother. The latter seeks to maintain the singularity of her daughter by passing her off as a Saint and thus taking advantage of it. The malformation, although operable, is skilfully maintained. The film is the story of a difficult emancipation. The work on sound and image – very chiade – tends to make the experience sensory. It’s partly successful, but it’s a pity that the filmmaker, for whom this is her first feature film, does not manage to create enough connection with a character who is also a prisoner of the system in which the staging has surrounded her.

Thomas Bauras


By Blerta Basholli

For her first feature film, inspired by a true story, Blerta Basholli puts in mind the obstacle course of a woman without news of her husband who left to fight on the front lines of the war in Kosovo, who tries to provide for her family’s needs by starting a small farming business. A gesture viewed with contempt and then mistrust by the village, which has been dominated for years by an overwhelming patriarchy, especially when it encourages other women to take their destiny into their own hands and therefore their independence. The subject is strong and its treatment to the height both in the description of the dominant misogyny and in the way of celebrating the courage of its heroine without ever forcing the line. Too bad however that despite its short duration (1h23), the second part of his story struggles to find a second wind and suffers from repetitions compared to its remarkable start.

Thierry Cheze

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By Clovis Cornillac

Paul, in his forties, has spent his life surrounded by nature, protected by his parents. But at the death of the latter, where this great naive learns that he was not a natural child but adopted, he will find himself forced to face this outside world of which he does not control any code, in search of his origins. As you will have understood, Clovis Cornillac has chosen to take the path of fable for his third feature (where he also plays Paul). And the surprises are not legion in this trip to the programmatic narrative obsessed with benevolence where the good feelings are highlighted by colorful colors that end up stinging the eyes. He who knew how to play with the codes of romantic comedy so well in his first feature with sparkling charm, A little, a lot, blindlyfinds himself caught in the trap of good intentions that turn into involuntary caricature.

Thierry Cheze

And also

secret ceremony by Tatiana Becquet-Genel

Firestarter by Keith Thomas

Just before dark by Jean-Pierre Larcher

Letter to the child you gave us by Charlotte Silvera

vikram by Lokesh Kanagaraj


Let’s sing in the rain of Stanley Donen and Gene Kelly

Salo or the 120 days of Sodom by Pier Paolo Pasolini

variety by Bette Gordon

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