What to see in theaters
PIZZA LICORICE ★★★★★
By Paul Thomas Anderson
Contrary to his enigmatic monoliths of recent years, Paul Thomas Anderson signs his most accessible and luminous work, telling an intoxicating romance in California in 1973. As beautiful as a first film shot with the know-how of a great master.
With Licorice Pizza, the director is back in the land of Boogie Nights, Magnolia and Punch-Drunk Love, his “San Fernando Valley trilogy”, named after the gigantic Los Angeles suburb where he grew up, separated from the rest of the city by the Hollywood Hills. And the first beauty of this film is to see him return to the world of his youth, of his apprenticeship, rich in the stylistic height of view that is now his, and rid of what plagued his first feature films, this desire to bandage muscles, to show its strength. This ninth opus proclaims the desire to be like a first film, like a first time, a new work of youth, since its argument (a romance between a teenage actor, talkative and a young woman, in her twenties, a little too old for him, but who will fall under the spell of his patter, while taking pleasure in standing up to him) until his (fabulous) duo of beginners headlining: Alana Haim, musician that PTA had previously directed in music videos but had never acted before, and Cooper Hoffman, son of Philip Seymour Hoffman, who is making his screen debut.
Licorice Pizza It was a film of pure pleasure, far from the sometimes intimidating metaphysical puzzles of which its author had ended up making a specialty. A seventies stroll giving the impression of having been turned with your hands in your pockets, a dreamy smile on your lips and incredibly intoxicating. Few films have so gloriously captured adolescence and the certainty inherent in this age that nothing can ever spoil the moments lived in those moments when everything, absolutely everything, seems possible.
Read the full review
WAITING FOR BOJANGLES ★★★ ☆☆
By Régis Roinsard
Six years after its triumph in bookstores, Waiting for Bojangles knows a new life, on the big screen, where we find Camille and Georges, this couple who consider life with their son only through the prism of pleasure and fantasy, far from the banality of everyday life. And this until the day when Camille goes a little too far into madness and becomes a threat to herself and others. After the missed Translators, Régis Roinsard here reconnects with a colorful universe Popular. And we feel the filmmaker very comfortable in the joyful moments when playfulness is in charge. But when the tone becomes darker or even desperate, he can rely on a Virginie Efira, at ease, in all registers. It is she who sets the tempo of the story, its bursts of laughter, its moments of great emotion. She may squat the screens at a hellish pace, we never get tired of it!
Read the full review
MY BROTHERS AND ME ★★★ ☆☆
By Yohann Manca
The summer, the beach, the sun, the barefoot football games but also the city, the sick mother, the big brothers who earn as much as they can and … the tenor voice of Pavarotti, which Nour , the smallest, listens repeatedly. Nour (the revelation Maël Rouin Berrandou), it is the sensitive part of a sibling who puts everything on the physical. This first feature film by Yohan Manca first of all pretends to explore this shift schematically, recounting more or less the revenge of the “poet” in the land of the bullies. Then he will work to come out of the ranks regularly like a child who would do as he pleases. Its part of humanity comes from the margins and therefore from the brothers, each of whom embodies a way of standing more or less upright in front of the world. Among them, we will remember Mo (the now unavoidable Sofiane Khammes), the most solar, who gives us the time of a sequence of a formidable number à la Aldo Maccione. My brothers and me is also and above all a summer film, this moment when the heat encourages us to slow down without leaving resentment aside, where the district seems depopulated, where we grow up without noticing it.
TWIST IN BAMAKO ★★★ ☆☆
By Robert Guédiguian
Inseparable from the city of Marseille, Robert Guédiguian performs with Twist in Bamako, he made a long double geographical and temporal journey. Cap on Mali of the 60s with the newly acquired independence, in the footsteps of a young activist traveling the country to explain the virtues of socialism which he pegged to the body. And it is during this journey that he crosses the path of a young woman who will turn his life upside down by clandestinely fleeing her family on the verge of forcibly marrying her. Even if it seems a step aside, Twist in Bamako is fully in line with the cinema of Guédiguian which celebrates the commitment without masking its disappointing tomorrows, as when here revolutionary fellow travelers fall into fanaticism and deny the humanism which had guided them. This humanism that Guédiguian has pegged to the body, which embraces Mali in a perfect balance between in-depth knowledge of its subject and a sense of melodramatic romance. It also reveals a stunning debutante narrowly, which we should hear again very quickly: Alice Da Luz.
Read the full review
LUZZU ★★★ ☆☆
By Alex Camillieri
Alex Camilleri, comes from Malta but lives and works in the United States (New York) where he also works as an editor. By discovering his first feature, we can guess what favored his departure towards wider horizons. Malta presents itself to us in the form of a traditional wooden fisherman’s boat (responding to the sweet name of “Luzzu”), the bright colors of which do not conceal its fragility. Yet the young hero of this story, Jesmark hangs on, seeks balance … He carefully reproduces centuries-old gestures which no longer seem to have any meaning at the time of the industrialization of the fishing market. Globalized and uninhibited liberalism does not care about the little hands that go up their nets one by one. Jesmark also has a family and therefore other problems to deal with: a fragile newborn baby, a horrible mother-in-law, a woman who waits better, the bills piling up … And like a hero of a drama of the Dardenne brothers, Jesmark never stops, his body sets the rhythm of the film. The camera does not let go. His scowling charisma knows how to show solar when needed and suggest the eclipse of feelings when clouds gather above his head. In this setting worthy of the Odyssey, the hero fights to stay afloat. Luzzu is a social epic with magnetic power.
ROSY ★★★ ☆☆
By Marine Barniéras
At 21, the radiant Marine, then still a student, has in front of her a whole life which seemed to have already been very generous with her. But suddenly everything collapses. Brutally. When she learns that she has an incurable multiple sclerosis which hangs over her the threat of total paralysis. And there, instead of following the advice of the doctors and starting the treatments, she decides to take a trip, alone across the world with a camera to get used to living with this disease that she nicknames Rosy. The result is incredibly luminous, of an intense emotion certainly but never soothing or tearful. Because Marine Barniéras has the talent of never combining exploration of the intimate – without giving herself a gift – with voyeurism. The accuracy with which she tells herself commands admiration. A nice crush.
BLACK MARKET ★★★ ☆☆
By Abbas Amini
After Tehran Law and The devil does not exist, Iranian cinema confirms its great form with this first feature film, the action of which begins in a slaughterhouse in Tehran in which its guard discovers three corpses. His scheming boss pleads the accident. And to protect himself from possible collateral damage, the guard calls on his son – just expelled from France – to get rid of the lifeless bodies which turn out to be those of … three Syrian migrants, including the daughter of one of the them will very quickly worry about the disappearance. There is no suspense to speak of in Black market. The spectator knows everything about the victims and the culprits very early on. But what is striking is both the permanent tension that reigns there and the writing of characters rich in contradictions and devouring guilt. Exciting first steps.
RESIDUE ★★★ ☆☆
By Merawi Gerima
If the hero of this first feature is called Jay, he could have taken the name of its director in front of the evidence of the autobiographical aspect. Jay, therefore, is an aspiring screenwriter. And in the eyes of his childhood friends in the African-American neighborhood where he grew up and to which he returns, his success creates distance, even mistrust. In their eyes, he is like those rich, white landlords who replace them in their neighborhood devoured by gentrification. Residue tells the story of a young man without a fixed community, treated like a foreigner by his friends and like a threat – just because of his skin color – by the white middle class. A high-tension story that is at the same time ultra-realistic by the use of real images and with a very refined aestheticism by multiplying different styles of shots and calibrations. The result is sometimes unsettling but of a rather fascinating poetry.
TO CROSS ★★★ ☆☆
By Joël Akafou
” Don’t let me sleep in the street … »Pleads with calm Olympian Touré Inza Junior nicknamed« Bourgeois », tapping on his two cell phones. These are the last words of the film. This crossing therefore leaves us there, somewhere near the Gare du Nord with this Ivorian exile at a standstill who has nevertheless experienced the stormy journeys that lead from his native Africa to the shores of Europe. The documentary does not let go of its hero with a sole, reports on his sur-places, accompanies his starts, listens to his conversations with his mother invariably punctuated by ” Amen, amen, amen … Like a mantra meant to ward off bad luck. To cross gives a face, a body, a word and a conscience to those invisible people who dream of a better world while cherishing the land they were forced to leave. Exciting.
Find these films near you thanks to Première Go
FIRST TO MEDIUM LIKE
I WAS AT HOME BUT … ★★ ☆☆☆
By Angela Schanelec
Figure of the new German New Wave, Angela Shanelec (Marseilles, Orly…) Is a follower of a demanding cerebral cinema which regularly makes festivals swoon. Awarded in Berlin, I was at home but … is no exception to the rule. It is about complicated mourning. That of the death of his father for a son who, when the film begins, returns without a word of explanation to his unarmed mother after a week of running away. We constantly feel the filmmaker’s fear of falling into emotional blackmail. Its very controlled staging is made up of successive paintings which translate, through their devitalized aspect, the immense solitude of the characters in space. But this rigidity ends up choking. And, when in the last straight line, the film intends to tend towards more heat, it is too late. Its artificiality explodes full screen, making this big gap impossible.
Beautiful cinema, by Eric Dick
Guanzhou, a new era, by Boris Svartzman
HK, the feather and the hope, by Clémentine and Thomas Basty
May 68 for men, by Jorge Amat
Make me a man, by Jerry Hyde and Mai Hua
Sword art online- progressive – Aria of a starless night , by Ayoko Kôno
355, by Simon Kinberg
Europe 51, by Roberto Rossellini
The messenger, by Joseph Losey
Snow, by Juliet Berto