What to see in theaters
LOVERS ★★★ ☆☆
By Nicole Garcia
Nicole Garcia weaves a stylized thriller in which Pierre Niney, Stacy Martin and the always excellent Benoit Magimel struggle.
Nicole Garcia’s cinema never tries to be friendly. For 30 years, she has been churning out tragedies whose substance is love put to death. Lovers is no exception with Lisa (Stacy Martin), a young woman caught between the love of the past, Simon (Pierre Niney), a little thug who resurfaces years after having evaporated and the husband of the present time, Léo (Benoît Magimel), a more stable businessman. If the dilemma seems to articulate for Lisa between passion and reason, the intrigue is revealed gradually, by layers, much more complex, over a plot in the assumed darkness where the shadow of Clouzot hovers. We admire the coldness that the filmmaker gives to the paradisiacal landscapes of Mauritius. And as usual, his detailed analysis of class relations and the attraction of money brings to the sentimental thriller a welcome depth, served by the intensity of each face-to-face between Benoît Magimel and Pierre Niney.
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FIRST TO LOVE A LOT
MEMORIA ★★★★ ☆
By Apichatpong Weerasethakul
It is first of all a noise, a “bang” which invades the whole frame of Memoria. Jessica Holland (Tilda Swinton, magnetic), English exile in Bogotà heard it and tries to find the trace of it. She even asks a sound engineer to recreate this noise by computer. The memory can suddenly rise to the surface of a world capable of welcoming it. This is one of the spiritual and artistic quests of all of Weerasethakul’s work (Uncle boonmee…). With him, lethargy, numbness of the senses, allow the doors of the unconscious to open and come to us. Memoria is in this a deeply organic work, vibrant everywhere where the image and the sounds interpenetrate to speak with the same voice. Memoria was undoubtedly the most intriguing film of the last Cannes Film Festival, from which it came away crowned with a Jury Prize.
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BLOOD ORANGES ★★★ ☆☆
By Jean- Christophe Meurisse
In 2016, Jean-Christophe Meurisse imposed his absurd and hilarious universe with Apnea, freewheeling sketches film that brought out the modern world. The director and founder of the Dogs of Navarre troop traces his furrow with the no less dingo Blood oranges, articulated around three apparently disconnected stories: a couple of over-indebted retirees tries to win a rock contest; a teenager in search of her first sexual experience comes across a psychopath; a minister entangled in a case of tax evasion. Result: a dazzling UFO that oscillates between creaking comedy to die for laughter, torture film (and social story. A truly punk object, truly joyful, truly anarchic, but which never forgets to deal with its subjects – the uprooting of the elites, the class struggle and the ineptitude of our societies – in the background.
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MAGNETICS ★★★ ☆☆
By Vincent Maël Cardona
Magnetics offers a trip back 30 years. 1981. A small provincial town. Two brothers, the shy Philippe (Thimotée Robart, incandescent) in the shadow of the charismatic Jérôme devoured by his inner demons. The father’s garage. The threat of compulsory military service. A pirate radio installed in the attic of a bar. This is the basis of what Vincent Maël Cardona deploys a very rich story, each component of which harmoniously nourishes the other. An initiatory story in the footsteps of Philippe who will discover the uncontrollable impulses of his heart (he falls in love with his brother’s girlfriend…) and fully live his passion for playing with sounds while playing the radio. A sensory film that fills our eyes and ears with happiness, to the sound of the new wave and punk wave breaking. A shoot of nostalgia all the stronger as the awakening to the world of his young hero strikes the end of this world in which he evolves.
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FAR FROM YOU I GROWN ★★★ ☆☆
By Marie Dumora
It is the work of a (young) life. In 2001, in the formidable With or without you, Marie Dumora followed the daily life of 4 children in a reception center, including Belinda and Sabrina, aged 11 and 9. Since then, each of his docus (Take me, I would like to love no one and Belinda) took an interest in them or their children. Far from you… is part of this collection of which each film can also be appreciated individually. Here we follow Nicolas, one of Sabrina’s sons, who was taken away from her to live in a home while continuing to see her regularly, at a decisive moment: whether or not to choose to return to live with her family. The filmmaker knows how to film the intimate with infinite accuracy, without forcing the line or conversely turning away from the harshness of certain situations. Always perfectly in her place, she signs a work as incredibly poignant as it is endearing, which makes you want to know the rest.
OLGA ★★★ ☆☆
By Elie Grappe
The heroine of this first feature film is a young Ukrainian gymnast promised to the most future in the world, left to train in Switzerland (the country of her deceased father) at the request of her mother, a committed journalist whose investigations into existing corruption in highest level of the Ukrainian state provoke the fury of the power in place. Through these two generations of women, Olga raises the question of total commitment and the sacrifices it requires. On the sport side as well as on the political side. We live this tale under tension in the skin and the head of this young gymnast taking full force a multitude of obstacles without ever deviating from its goal. Film of few words, Olga keeps going from start to finish, relying on a very documented knowledge of the subject and the ability to inject fiction into it without ever distorting this reality.
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FIRST TO MEDIUM LIKES
HIGH AND LOUD ★★ ☆☆☆
By Nabil Ayouch
In addition to his position as a committed filmmaker, Nabil Ayouch (Much Loved, God’s horses…) Strongly believes in the virtue of learning and thus multiplies cultural actions to allow young Moroccans to express themselves through their art through workshops. The action of High and loud is happening in one of the centers he created, located in the suburbs of Casablanca, Sidi Moumen. Thus Anas – who carries the story – plays his own role, that of a hip hop teacher trying to free a word that a society would like to violate. The documentary material of the film goes far beyond the framework to become the raison d’être of a film which nevertheless persists in disguising it as fiction. With the strange feeling that the tools of cinema (script, editing, etc.) retain the creative energy that the filmmaker had before his eyes
THEY DANCE ★★ ☆☆☆
By Alexandre Messina
Aude, a former notary, left her office to embrace her passion, dancing. But not just any old fashioned way, nor anywhere: she walks in costume in a cancer department, and at the same time directs a dance class made up of cancer survivors. The subject is strong, and could fall into the crude or misplaced poetry. Fortunately, nothing miserable or voyeuristic about it. But this little docu, pretty and wise, perhaps lacks too much cinema (out of modesty, perhaps) to come out of its form of short weekend report. There remain the formidable characters of women who cross the story, including Aude, who could have been a super-heroine in a parallel world and here resembling the benevolent ghost who agrees with mourning and illness according to her round legs.
BROTHER ★★ ☆☆☆
By Arnaud Fournier Montgieux
Distributed by the company Saje, specializing in ” Christian-inspired films and TV films …“, this Brother is the portrait of a young Frenchman who immediately asserts: ” I have always loved the poor … »Difficult to be more direct. Francis, that’s his name, has thus integrated the Franciscan community of the Bronx and takes care of the most disadvantaged. He is therefore perfectly in his place and happy. Brother François speaks with conviction and eloquence of his faith which we feel is unshakeable. The first images show ruined houses around which American flags are crumpled on muddy ground. The American dream has long since turned into a nightmare. For some much more than others, as for this marijuana salesman, former member of a gang, passed several times by the prison box. But that was before meeting François. Their complicity is beautiful to see. The former robber first laughed at seeing her hooded dress and gentle manners and then – mystery of grace – the power went on. Better, a redemption was made possible.
Here the words ” patience, compassion, hardship, self-giving, shared suffering … », Are uttered like mantras that Arnaud Fournier Montgieux’s staging welcomes with all the necessary religiosity. There are also musical interludes with a Franciscan brother who remembers his faith between two offices. This Brother sees the world only through the blissful eyes of the Franciscans. It is therefore difficult to enter into an intimacy and the complexity of individuals, other than by the ways of the Lord by nature ” impenetrable “. We could therefore add the dead ” frustration To the litany. Brother François who also prides himself on being an artist (he draws beautiful portraits of his “friends”), leaves us by simply saying: ” You have to accept not to see the fruit of what you have sown and adjust your sail and go with the wind. ”Of which act.
FIRST DIDN’T LIKE
HUNGRY ★ ☆☆☆☆
By Scott Cooper
Here is new territory for Scott Cooper: that of horror cinema. But that the worshipers of Crazy Heart, The Infernos of Wrath and Hostiles (its summit, for now) be reassured, we are at the heart of post-industrial America, built on violence and guilt. In a poor and sinister Oregon mining town, a monster lurks. An institute and her cop brother will follow his trail, between indigenous legends and cannibal family secrets. Frankly, we would love to love it unconditionally (the fan club of True Detective is still active in the editorial, and always in a state of withdrawal), but with the exception of a few gory visions well packaged, Hungry turns out to be far too bland to satisfy us. The fan-club has a tough tooth, that’s natural.
DAMN ! ★ ☆☆☆☆
By Emmanuel Parraud
After Death bag in 2016, Emmanuel Parraud puts his camera down again in Reunion Island and follows a man going in search of his friend who has disappeared in the wild heights of the island. We quickly perceive the filmmaker’s ambition: to sign a political film embracing the history of this place and the ghosts of colonialism and slavery who continue to roam there through the prism of the fantastic and even assuming a gore side. in violence. But the mixture of genres struggles to give a convincing result here. We feel the desire for a sensory film à la Apichatpong Weerasethakul but (for lack of sufficient means?) The killing scenes seem grotesque and prevent the story from taking off towards these horizons, making the subject often obscure and creating a distance, to the reverse of the stated intentions.
Bodins in Thailand by Frédéric Forestier
The Ilio Dolomites by Michele Coppari and Francesca Zannoni
Hacking Justice- Julian Assange by Clara López Rubi
Little Brown Hare Christmas, short film program
We are made for each other by Pascal Elbé
Permaculture in France – an art of living for tomorrow by Olivier Goujon
The Horn Quartet – Up on the mountain, short film program
Return to Sölöz by Serge Avédikian
Django by Sergio Corbucci
El Chuncho by Damiano Damiani
Rocky by John G. Avildsen
Umberto D. by Vittorio de Sica