What to see in theaters
REMINISCENCE ★★★ ☆☆
By Lisa Joy
Lisa Joy on the trail of the great black films. His first feature film is nourished by the same thematic obsessions as the cinema of… his brother-in-law Christopher Nolan
In a half-submerged Miami, Nick Bannister (played with class by Hugh Jackman) is a former soldier turned private investigator. With the help of a strange machine, he invites himself into the memory of his clients who can relive moments of their own past in 3D. When the mysterious Mae walks through the doors of Bannister’s office, she wants to use the machine for some obscure pretext. Mae will actually embark the hero on a dangerous adventure where he will have to face crooked politicians, corrupt cops and violent dealers.
For her first feature, Lisa Joy takes great care to display her references from the outset, such as blanks. From voiceover to femme fatale, Lisa Joy follows in the footsteps of the great black films. A little of Chinatown, a lot of Blade runner a hint of Minority Report. But it is above all of Christopher Nolan that we think of when we see Reminiscence. Lisa Joy is the sister-in-law of the director ofInception, but she is mostly obsessed with the same themes as her beau. His blockbuster-prototype thus explores the realm of dreams, examines the (devastating) effects of time and plays with superimposed narrative layers. She telescopes timelines, realities, death drives in a ballet that is sometimes confused but which always seeks to orchestrate the loss of the senses. The trouble is that his techno-thriller never really takes off, the fault of pretexts a little too much telephoned to non-existent characters and a very slim stake in the end.
Read the full review
FIRST HAS A LOT LIKE
FRANCE ★★★★ ☆
By Bruno Dumont
France, which gives its title to the new Bruno Dumont, is the star of a 24-hour news channel, a star presenter drunk with her power, who stupefies the masses with populist debates in prime-time and false reports on the other end of the world. France is of course the personification of the whole nation, a beautiful and intrepid woman, but who has gradually cut herself off from reality and who, she will say it literally during the film, has heartache.
However, do not expect a reactionary lament here. From his considerations on the poor health of the country, Bruno Dumont preferred to draw a very nasty, very noisy satire. He mimics the facticity of a world shaped by C News to shoot at everything that moves: the debilitating newspeak of modern means of communication, the intellectual autarky of the elites, the way the media tamper with reality, the cynicism of the ultra- liberals… It’s rather amusing (or downright depressing, depending on the mood) and it would be almost too easy if Dumont did not start torpedoing his own program, revealing without warning the humanity of France, this wound of love which ravages his heart.
In this second film lurking inside the first, a melody hidden in the farce, punctuated by the heartbreaking chants composed by Christophe, Dumont goes there too thoroughly. But he wouldn’t get very far without his kamikaze actress. Léa Seydoux, brilliant who is not satisfied with the easy irony either: she transfigures, her face ugly by a fit of tears, or rendered livid by a make-up that gives her the pallid look of an almost dead woman.
Read the full review
THE LAND OF MEN ★★★ ☆☆
By Naël Marandin
After Little peasant, In the name of the earth, To recover and The Cloud, Naël Marandin (The Walker) portrays a young couple of farmers – Constance and Bruno – trying to take over the farm from Constance’s father (Olivier Gourmet) with an innovative and ecological project but which can only take shape with the financial support of the powerful unions agricultural. A support that Constance thinks to get from Sylvain, very influential in the decision and apparently excited by the project. Except that, to be kind to her, Sylvain will ask her to be kind to him … As the remarkable Slalom, The Land of Men speaks of rape and control by transcending its subject through a strong female character, never reduced to her function of victim. In this role, Diane Rouxel delivers a composition of an intensity never failing. It is like the film. Never school or applied. Always free and surprising
Read the full review
THE WITCHES OF AKELARRE ★★★ ☆☆
By Pablo Agüero
The fifth feature by Argentinian Pablo Agüero whose action takes us in 1609 to the heart of the Basque Country where six young women are arrested precisely for having danced happily in the heart of a forest, a gesture considered a diabolical ceremony by the Spanish crown . The latter then sends a young judge to the scene with a clear mission: to manage so that they are condemned for witchcraft. Agüero signs here a great feminist film. He does not get lost in a work of reconstruction of the time but focuses on the Kafkaesque absurdity of the situation, the suffocating sensation experienced by these heroines whose only crime is to want to be free of their movements. The Witches of Akelarre is driven by the idea that what her heroines experienced yesterday is what other women suffer today, the first victims of the authoritarian powers imposed by religious extremists. A parallel all the more powerful since it is never pressed.
Read the full review
LITTLE DANCERS ★★★ ☆☆
By Anne- Claire Dolivet
An editor by training and then a director of subjects for television, Anne-Claire Dolivet signs here her first feature film, a documentary devoted to young girls who dream of tutus, pointes and the Paris Opera. Before getting there (not in tutus and pointes but at the Opéra Garnier), Ida, Olympe, Marie and the others will have to go through private lessons given by the intractable Muriel, a real “star” of the documentary. Surly, authoritarian, cowardly, this teacher seems straight out of a comedy by Claude Zidi. “Smile well, especially if you make mistakes,” she says to one of her students who is preparing for a contest. Muriel does not amuse the field while wielding forced humor. Children, like their parents, are even a little afraid of it. Why entrust his offspring to such a dragon? Because Muriel has results: some of her students are successful, the evidence is there. So we keep a low profile. Especially since by scratching a little, we realize that she has a heart, Muriel. To Ida, who has just twitched a muscle, compromising her chances in a competition, she hugs her, her eyes cloudy with tears, and promises to take care of her body during the following lessons. Will Ida heal in time? This is the stake of the last part of this sometimes upsetting and sometimes edifying film which offers parents and spectators a slightly distorting mirror in which a certain embarrassment in front of the suffering of the children disputes him with the desire to see their efforts rewarded.
Find these films near you thanks to Première Go
FIRST DIDN’T LIKE
D’ARTAGNAN AND THE THREE MUSKETEERS ★ ☆☆☆☆
By Toni Garcia
It was a cult series from the 80s. 26 episodes of 22 minutes, co-produced by Spain and Japan, accompanied by a heady credits that you have a hard time pushing from your mind once the first notes ring. (the ” One for all and all for one… »Composed by a certain Jean-Jacques Debout). A rather funny adaptation of Three musketeers of Dumas but called to remain in the obsolete childhood memories department between two bars of Raider and a glass of orange Pschitt. Except that all this little world (credits included!) Comes back in full-length format to tell the story of the rise of the young d’Artagnan who came from his native Gascony to be part of the King’s musketeers. Marked scenario, animation without relief… Nothing here is disagreeable but so old-fashioned that one blames them for having damaged one of our Madeleine de Proust.
BRITTLE ★ ☆☆☆☆
By Emma Benestan
The heroine of Emma Benestan’s first feature film is a TV series actress. And – chance or coincidence? – there is something of the TV sitcom in the narrative that is developed there. This love story between this actress and a young oyster farmer that she will leave for a while for her partner, while he will gradually fall under the spell of his best friend who did everything to cheer him up. We believe we perceive the director’s desire to play with the codes of this type of bluettes on the small screen. But she never really succeeds in gaining the upper hand, in making them her own and taking them elsewhere. Balance sheet? Brittle never prints the screen, unfolds a scenario too programmatic to give rise to asperities, despite a well-chosen cast, from which emerge Oulaya Amamra, Guillermo Guiz or even Raphaël Quenard, those who have the sharpest moments to play . Romantic comedy is definitely a difficult art.
Don’t breathe 2 by Rodo Sayagues
Man hunt by Fritz Lang
Cow hides by Patricia Mazuy
The Times and hours by Christopher Münch