What to see in theaters
FAST AND FURIOUS 9 ★ ☆☆☆☆
By Justin Lin
Expected as the Messiah of entertainment, the new F&F sorely lacking in rigor – but yes – to fulfill its destiny as the best summer blockbuster of summer 2021.
We expected him a lot, without any irony or meanness. What’s wrong, after more than a year of pandemic to get excited at the idea of settling in a big cinema with all the popcorn that the sanitary rules allow us to see the band at Baboulinet ravage the planet in cars tuned? At first, we are almost satisfied: Fast & Furious 9 opens with a stock car racing flashback sequence, shot with Le Mans 66 as a visual reference. Real sheets, real flames, a real feeling of carnal, physical (and metallic) cinema. Good idea. Afterwards, back to the present and things go wrong. Fast & Furious 9 plant three big action scenes much less crazy than expected, handicapped by a lack of rigor. The use of receipts from the soap opera does not help matters: Fast & Furious 9 is not delusional enough to be forgiven for his delusions, not rigorous and visceral enough to impress. A / C and popcorn are there, but Fast & Furious 9 does not deliver the advertised pleasure.
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FIRST A LOVED
TITANIUM ★★★★ ☆
By Julia Ducournau
Great return to Cannes by the French filmmaker, five years later Serious and its global buzz. With Titanium, Julia Ducournau is aiming this time for the Palme without losing any of the radicality of her style. This is the story of Alexia (the revelation Agathe Rousselle), a damaged stripper caught in a murderous madness. This will find a form of appeasement (!) In contact with a man (Lindon bodybuilder) who will welcome him like his own missing child. Ducournau wonders again about the way in which you have to deal with your own body in order to impose yourself on the world. Titanium is the story of a perpetual metamorphosis all in crumpled sheet metal and swollen skin, it is above all one of the shocks of this 2021 vintage. Titanium in solid gold!
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BERGMAN ISLAND ★★★★ ☆
By Mia Hansen-Løve
A couple of filmmakers, Chris and Tony (Tim Roth, in a stripped down register where he excels) who settled down to write on the island of Fårö, where Bergman lived… With his most autobiographical film, Mia Hansen-Løve n ‘ was not afraid of obstacles: dealing with a possibly excluding subject (we know how difficult it is for films about cinema to find their audience) and confront the Swedish maestro. But his film fascinates conversely by the incredible clarity of his story mixing the reality of this couple and the fiction of the scenario written by Chris which takes shape on the screen. First, because she knows how to desecrate – without damaging it – the imposing figure of Bergman. But above all because she does not sign a film on him more than on the cinema. Bergman Island is first and foremost the story of a double emancipation. That of a filmmaker, who sees herself as totally dependent on the father of her child. And that of her heroine, haunted by a first love that she has never been able to forget. There reigns over this double story the melancholy of these finished stories which nevertheless continue to shine like dead stars. This film has the grace, that of its main actress, the dazzling Vicky Krieps.
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GUILTY DESIGN ★★★★ ☆
By Kevin Macdonald
A young Mauritanian is kidnapped by the FBI, tortured and imprisoned in Guantanamo without charge or trial. When the American state decides to send her to the electric chair, a seasoned lawyer, Nancy Hollander, chooses to take her defense in hand. Based on the true story of Mohamedou Ould Slahi, Designated Guilty is an old-fashioned legal thriller reminiscent of all the classics of the genre. But the film of Kevin MacDonald goes beyond the framework of simple cinema of file. Like the friendship between the naive doctor and the African tyrant of the Last King of Scotland, it is the relationship between two opposing characters that interests the Scotsman. The gradual taming between a rational lawyer and a totally lost inmate. Jodie Foster is fabulous, but it’s Tahar Rahim who impresses. He finds his best role since A prophet.
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AINBO, PRINCESS OF AMAZON ★★★ ☆☆
By Richard Claus and José Zelada
Having become a fashionable subject, ecology is more and more often used as an alibi for a film lacking in consistency. Quite the opposite of this animated feature film inspired by its co-director José Zelada by his own childhood in the heart of the Amazon. There is nothing artificial about the defense of the Earth’s lungs, which has been threatened for years by global warming and deforestation, at the heart of this story rich in adventures. His 13-year-old heroine, Ainbo (a sort of cousin of Disney’s Vaïna) confronts tree cutters and other gold diggers with the help of two spiritual guides as mischievous as they are blunderers (a tapir and an armadillo). The well-crafted animation, the way of distilling snatches of Amazonian legends in a playful story despite the apocalyptic reality that it embraces, turns out to be a pretty success. Young audiences should enjoy it
FIRST A MEDIUM LIKED
TÛOA JOURNAL ★★ ☆☆☆
By Miguel Gomes and Maureen Fazendeiro
Twenty-two days back in the life of a film, where fiction gradually withers to let the reality of the shoot enter. In times of the Covid-19 pandemic (we are here in the summer of 2020), health questions arise. So halfway through the film, it is the masks placed on the faces of the technicians who come to remind us that in these troubled times, making films is also that. The filmmakers, Miguel Gomes and Maureen Fazendeiro, are vaguely there, often leaving the keys to the film to his three dubious performers. The structure that sees the sequences appear in a non-chronological order implies a dramaturgy where “there is nothing to solve,” Gomes explains on screen. It’s a fairly open film … ”So open that it threatens to no longer be. Because a film, even reversible, remains prisoner of its ends. This Journal will have to be taken for what it is, an unpublished document on a health and artistic crisis.
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FIRST DIDN’T LIKE
HELMUT NEWTON: THE SCRUPT ★ ☆☆☆☆
By Gero von Boehm
The life and work of the famous photographer Helmut Newton, who died in 2004, here is what this documentary offers which unfortunately tends to succumb to all the traps of the genre, like the recent Pierre Cardin directed by P. David Ebersole and Todd Hughes. Starting with a natural penchant for hagiography which necessarily embraces only part of the man and the artist. Gero van Boehm certainly does not practice the policy of the ostrich and evokes the way in which the images of Newton considered yesterday innovative, rebellious and carried by a cheerful anti-puritanism on the representation of women can be perceived differently and pointed out in a world post #Metoo. It would have probably almost deserved a film in itself … But this documentary lacks discordant voices, more fit that would damage the throbbing mechanics of the concert of praise because it ends up spoiling its strong moments. , captured on the spot, especially in his relationship with his wife.
Brothers in arms by Sylvain Labrosse
Mystery in Saint-Tropez by Nicolas Benamou
Sembene! by Samba Gadjigo
Wolfy & The Wolves in delirium, short film program
Buena Vista Social Club by Wim Wenders
The Devil’s Spine by Guillermo del Toro
The mandate, by Ousmane Sembene
Possession, by Andrzej Zulawski