Matrix Resurrections, Madeleine Collins, Tous en scène 2: What’s new in theaters this week

What to see in theaters


By Lana Wachowski

The essential

In the era of meaningless reboots, Lana Wachowski reclaims her major work with a fourth Matrix, and turns it into a veritable manifesto of crazy richness.

If you loved the first ones Matrix for his exciting art of SF / action synthesis, his unbridled mix of cyberpunk and gun-fu visions, be warned: Matrix Resurrections will disappoint you. Many. And it’s even done on purpose. On the other hand, Matrix Resurrections will make for you the most beautiful, the biggest, the most unexpected middle finger in the blockbuster industry. We expected bullet time, kung fu, slow motion, guns, sometimes crazy sci-fi ideas, Lewis Carroll quotes, mirrors, Matrix Resurrections provides you with all this … but with a very particular bad grace, since the film will literally take into account the idea of ​​reboot of Matrix, and point it out for what it is. An exciting idea, certainly, but completely opportunistic and mercantile.

Matrix Resurrections thus asserts itself as the anti-MCU, both industrially, technically and narratively to emphasize a true solar love story between Neo (Reeves, very laid back) and Trinity (Carrie-Anne Moss gives Trinity new version a presence of incredible simplicity) – which offers the most beautiful moment of the film, without bullet time ni kung fu, during a luminous moment, between heaven and earth, unprecedented in the franchise. The top of a pirate blockbuster, thought out and acting like a bug, ultimately causing the most beautiful mindfuck industrialist of the year.

Sylvestre Picard

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By Antoine Barraud

Antoine Barraud likes to distill the fantastic in the apparent banality of everyday life, with a taste for cerebral treasure hunts and the talent to bring it to fruition. Madeleine Collins takes the same path as his The chasms and The Red Back but Barraud has taken a new step there by signing his film for the general public, without however prejudicing things. Her plot is built like a puzzle in an attempt to capture what is going on in the head of her heroine, who we will understand is leading a double love life. Between Abdel, with whom she is raising her little girl, and Melvil, with whom she had two boys. Before little by little the trap closes on her and the pursuit of her lies has to go through a headlong rush. Barraud never broaches his subject in the field of morality but brings it to life in the head of this woman who has completely compartmentalized everything by marrying her madness which you never know if it is gentle or manipulative. This borderline character while interiority required an actress full of nuances and quiet power. Virginie Efira is masterfully fascinating there.

Thierry cheze

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By Louis Garrel

On the advice of his friend Jean-Claude Carrière (for his final screenplay), Louis Garrel began to imagine this film before the arrival of the shattering arrival of Greta Thunberg on the media scene, and signs the first fiction around this youth who takes action for the environment. We find the trio of Faithful man : the couple formed by Abel and Marianne (whom he plays with Laetitia Casta, once again amazing) and the latter’s son, Joseph (Joseph Engel, always so brilliant). And the opening of the film sets the tone, playful, of what will follow. Abel and Marianne discover there that Joseph secretly sold some of their most precious objects and invested the money raised in a project developed with hundreds of children of his age to save the planet. The situation comedy allows Garrel to immediately find the right distance to embrace an a priori anxious subject and to place himself at the height of childhood with this mixture of freshness, innocence and certainty that they can change the world that surround them. Both light and deep, this tangy candy can be enjoyed without moderation.

Thierry cheze

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MY KID ★★★ ☆☆

By Nir Bergman

After several feature films that have remained unpublished, My kid marks the return to French theaters of the co-creator of the series BeTipul (available in France with In therapy), nine after Inner Grammar. The Israeli filmmaker recounts here a fusional relationship – between a divorced father and Uri, his 20-year-old autistic son – shaken up by his mother’s choice to place him in a specialized institution. Except that the son in question refuses to go there and that the father promises him to accede to his request, transforming them into fugitives. My kid then takes the form of a road movie where Bergman thwarts the traps of easy sentimentalism by distilling burlesque, under the claimed influence of the Kid by Chaplin (the film that Uri watches on repeat) for an ultimately similar subject: a duo breaking with what society expects of them. A little gem of sensitivity.

Thierry cheze


By Yu Haibo and Yu Tianqi Kiki

The Dafen district, located in the Chinese city of Shenzhen, specializes in reproducing works by the greatest painters, in order to export them to souvenir shops around the world. Xiayong Zhao is gifted, able to imitate Vincent van Gogh’s brushstrokes with disturbing accuracy. In the family workshop, he and his family reproduce the painter’s works on the line, without ever having laid eyes on his originals. A crazy story between peasant China, in which Zhao grew up, and the Van Gogh museum in Amsterdam that he dreams of visiting. We thought we were watching a documentary on the business of copying, it will in fact be witnessing the epiphany of a brilliant plagiarist who discovers the soul of an artist. Emotion without counterfeit.

Francois Leger


By Kavich Neang

Co-produced by Davy Chou and Jia Zhangke, this first feature film was born under bright stars. And the first talent of its director, the Cambodian Neang Kavich, lies in his way of fully assuming his references (Apichatpong Weerasethakul in mind) without ever crushing his film. Here he stages a subject that he knows from having experienced it from the inside and having already devoted a documentary to it (Last time I saw you smiling): the demolition in 2017 of an iconic building in Phnom Penh – the White building – and its collateral damage for its inhabitants (mostly artists with modest incomes, who recovered it from the Khmer Rouge who had invested it), start with Sle, a young man whom he has chosen as his hero. Kavich tells of gentrification through a successful game between fiction and documentary where you end up not knowing what is being played or captured on the spot and a real and touching melancholy.

Thierry cheze

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ALL ON SCENE 2 ★★ ☆☆☆

By Garth Jennings

In 2017, many of us succumbed to the adventures of Buster Moon, the koala who gave a second life to his theater by organizing a singing competition. A jewel of animated cinema playing wonderfully with different musical styles and a sure sense of situational comedy. We therefore eagerly awaited his suite where Moon and his friends undertake this time to stage a show in an even larger theater with the ambition of bringing a reclusive ex-rock star back on stage. For this sequel, Jennings also wanted to see the big picture. The result is not unpleasant but the director of the shaken good Intergalactic Traveler’s Guide too much in line. Here the quantity (the soundtrack turns to the exhausting musical juke box), takes precedence over the quality (an animation without roughness). All in scene 2 ride the same wave instead of exploring new oceans.

Thierry cheze

THIN THEN 2! ★★ ☆☆☆

By Charlotte de Turckheim

Nine years after having gathered more than 1.4 million spectators, Charlotte de Turckheim signs a sequel to her Gosh !. The action takes place this time in the heart of Provence where Nina (Lola Dewaere, nominated for the César of the revelation at the time and still excellent) and her aunt Isabelle (Charlotte de Turckheim, in a role different from that of the first part) have opened a “fasting and detox” cure which is trying to take off. Through the curists who find themselves there – voluntarily or unwillingly – Charlotte de Turckheim continues her variation around overweight and more broadly the physical diktats imposed on women and men in our Western societies, with the same mixture of humor , cruelty and tenderness. The intention is laudable, the sincerity total, but this second opus does not bring anything new enough on the scenario side compared to the first to be detached from a mechanism which leaves little room for surprises.

Thierry cheze

MICA ★★ ☆☆☆

By Ismaël Ferroukhi

Ten years ago (and Free Men with Tahar Rahim) that we had no news from Ismaël Ferroukhi. The filmmaker signs his return with a story set in his native country, Morocco. That of a kid from the slums of Casablanca, including a former tennis champion, discovered the innate talent for handling the little yellow ball in the club where he works as a handyman and who will then try everything to change his destiny. The subject is noble, the interpretation (Zakaria Inan for her debut on the screen and Sabrina Ouazani) impeccable. But the film has a little too much tendency to push open doors, to lock its characters in archetypes, all in its obsession to convey a message. And on the treatment of the suffering childhood, the comparison with the packing Children of the Sun (see p 102) clearly appears against it.

Thierry cheze


By Zheng Lu Xinuyan

Zheng Lu Xinyuan is a Chinese filmmaker who studied cinema in Los Angeles. This first feature film arrives preceded by a pretty reputation linked to its short films. The Cloud in Her Room is the story of an impossible return, that of a young girl in her hometown, Hangzhou, south of Shanghai. Muzi, that’s his name, reinvests the family apartment emptied of its occupants scattered in now separated lives. She is no longer certain of recognizing the places or the things around her. Her mind, like the story, wanders in a sort of arty black and white trance. We would like these peregrinations to bewitch us and give us a kind of vertigo, but everything seems frozen, placed there like soulless objects. Too bad because some sequences are not devoid of grace.

Thomas Baurez


By Stéphanie Pillonca

After a detour through fiction (Thunder Flower, 2017), Stéphanie Pillonca returns to documentary with this film dedicated to the desire for a thwarted child: the one that we cannot have or the one that we have abandoned in spite of ourselves. On the one hand, the director portrays adopters, on the other hand, a mother who regrets having given birth under X or an adult adopted in search of his biological mother. The point is not very clear and, moreover, very quickly, Pillonca refocuses on this mother (English) who is investigating her son (born in France) and this forty-something who does not arrive, despite an adoptive family. loving and her own children, to overcome a cruel emotional deprivation. Their cross-quests are overwhelming and would undoubtedly have deserved an even more developed treatment.

Christophe Narbonne

And also

The Antarctic Odyssey, by Djamel Tahi

The recoveries

The Diary of Anne Frank, of George stevens

The conjugal bed, of Marco ferreri

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