What to see in theaters
SHANG-CHI AND THE LEGEND OF THE TEN RINGS ★★★★ ☆
From Destin Daniel Cretton
Marvel is finally back on the big screen. The very mediocre Black widow had not really reassured … And here comes Shang-Chi and the 10 rings, a modest blockbuster for the Marvel team, but sufficiently spectacular and very entertaining to restore our faith.
Descended from a long line of Chinese warriors, Shang-Chi fled his father, Wen Wu, a notorious mobster, and left China to live anonymously in the United States. At the beginning of the film, it is thus under the name of Shaun that he lives in San Francisco. Modest concierge, he thinks only of partying with his friend Katy. But when a gang of thugs tries to tear off his pendant, he is forced to reveal his true identity and set off to face his past.
For their first Asian superhero film that lines up impressive action scenes, Marvel is cleverly paying homage to the entire spectrum of HK cinema. We therefore have a good fight Wu Xia (who evokes Tiger and dragon) to a scene “à la Jackie Chan” (the bus sequence) before flirting with supernatural romance and ending with an epic-fantasy delirium that almost mimics Tsui Hark. But the film’s lethal weapon, the real one, is Tony Leung. As usual with him, a minimum of effects creates a maximum of confusion. And her duel against Michelle Yeoh will delight all fans of the genre …
In short, between teen comedy, family romance, the digest of Chinese cinema and the new stone in the MCU building, Shang-Chi wins on all counts.
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FIRST TO LOVE A LOT
RIDE YOUR WAVE ★★★★ ☆
By Masaaki Yuasa
At the end of twenty minutes of film, we feel that there is something. We can feel it coming. And we don’t like it. This love at first sight between a studious young firefighter and a sassy surfer is too beautiful, too perfect to last. That’s not a spoil, and better prepare for it: the firefighter drowned and his fiancée sank in pain. But since we are in an animated fantasy, his ghost will appear to help him lift his head. Despite that, no candy pink fuss or fiddling melody: Ride Your Wave is considered precisely as a wrinkled, a drastic comedy drama where waves and fires are fought with a sense of action, humor and rhythm not far from impeccable. This film does not try to appease the bite of mourning with a supernatural marshmallow, but rather to get us used to having a beautiful scar from it. A real bomb.
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A TRIUMPH ★★★ ☆☆
By Emmanuel Courcol
A triumph is inspired by a true story from a Swede. That of an actor in galley who accepts to lead a theater workshop in a prison and will have a double revelation: the talent – of which they are not aware – of those he directs and his pleasure in directing for the first time. And he decides to go up Waiting for Godot outside the walls by making sure to convince a reluctant prison hierarchy. In particular co-produced by Dany Boon and Robert Guédiguian, A triumph manages to play with the story sewn with white thread that he falsely lets glimpse. And, in the central role, Kad Merad delivers a remarkable composition from start to finish, intense, precise, subtle. He marvelously embraces every contradiction of his character who uses this theatrical adventure as much as he serves those he directs. Kad Merad is in perfect harmony with the tone of the story and surrounded by a group of actors all more amazing than the others, starting with Sofian Khammes and Pierre Lottin.
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A STORY OF LOVE AND DESIRE ★★★ ☆☆
By Leyla Bouzid
Doubly awarded Sunday in Angoulême, the second feature film by Leyla Bouzid (I hardly open my eyes) follows the beginnings of a romantic relationship between Ahmed, a young man of 18 years of Algerian origin and Farah, recently arrived in Paris from Tunis, to continue his studies of Letters. If he seems to repress his feelings in the name of awkward modesty, she lives more freely, placing a certain recklessness at the heart of everything. Farah notably introduces Ahmed to Arab erotic literature, shaking up his certainties a little more, to the point of creating an imbalance. Through them, Leyla Bouzid explores with remarkable finesse the torments inherent in adolescence and the doubts they arouse. The staging borrows from sensuality, films these moving bodies and accompanies their inner journey so that this love and this desire is expressed, finally detached from everything that could hold them prisoners.
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DEAR FRIENDS ★★★ ☆☆
By Andrei Konchalovsky
It is an episode in the history of the USSR Khrushchev period long put under wraps by the Soviet regime. The first time that proletarians dared to challenge power with a demonstration (in the city of Novocherkassk) suppressed in relentless brutality causing 28 deaths whose bodies were hastily buried to be untraceable. Konchalovsky takes hold of this tragedy but through the prism of a character who will experience it, under high tension, losing all his ideals hour after hour. Her name is Lyudmila (Yuliya Vysotskaya, striking). Nostalgic for Stalin, a figure of the local Communist Party, she spontaneously did not have enough harsh words against these protesters, whom she likened to traitors before her daughter found herself missing in these demonstrations. And that she then begins a long Stations of the Cross to find her, forced to circumvent the rules that she helped to enact. More than the manifestation in itself, it is the redistribution of the cards that it provokes that interests the filmmaker, reconstituting this period in a sublime black and white, to evoke the universal and timeless character of these political certainties which vacillate from then on. that brutal collateral damage suddenly collides with the daily lives of those concerned. Dear friends ! is seen as a suspense all the more breathless as Konchalovsky takes the time of a story of which the heroine knows that she can not trust anyone because she would be the first to betray anyone who asks her for help in the same circumstances. Vertiginous.
IL VARCO ★★★ ☆☆
By Federico Ferrone
The Ferrone-Manzolini duo is trying a perilous exercise with this film which combines documentary and fiction. To tell what lived a soldier of Mussolini leaving for the Russian front in 1941 by relying for the text (said off) on the diaries of Italian soldiers and, for the image, of archival films shot during this period . Anything but fictitious, the result is fascinating. Thanks to a work of sound design and breathtaking editing, we let ourselves get carried away in the head of this faithful servant of his country whose certainties about war and fascism are shattered. Too bad to mix it with current images of the same places, now the scene of the conflict between Ukrainian authorities and pro-Russian separatists to underline that history is an eternal restart. This broad parallel contradicts all the suggestive finesse of the whole without fortunately damaging it.
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FIRST A MEDIUM LIKED
THE SON OF THE GROCERY, THE MAYOR, THE VILLAGE AND THE WORLD ★★ ☆☆☆
By Claire Simon
This extended title does not lie. In her new documentary, Claire Simon (Recreations) tackles a lot of subjects in the heart of Lussas, an Ardèche town which has hosted the Etats Généraux du documentaire since 1989, a major festival of the genre. She tells the story of the complicated creation of Tënk, the platform dedicated to the genre while going to meet the winegrowers (drawing a parallel between their world and that of independent and associative cinema) as well as villagers struggling against socio-isolation. culture that threatens them. His eye is still so sharp and all these themes certainly respond to each other. But in a time limited to 1h51, his film sometimes seems confused. A serial format would have been more appropriate to get out of a sense of the self and tend towards its ambition of a more universal subject from this singular place.
GOGO ★★ ☆☆☆
By Pascal Plisson
School is definitely Pascal Plisson’s favorite subject. After the box of On the way to school in 2015 and The big day in 2019, the documentary filmmaker is this time interested in a character that no fiction would doubtless have dared to invent. An illiterate Kenyan midwife who… at the age of 95 decides to come back to school to pass her final primary exam, encouraged by her 54 great-grandchildren! You would have to have a heart of stone not to melt in front of this extraordinary character. But it is with documentaries as with fictions. Sometimes a strong subject takes everything in its path and prevents the cinema from unfolding there. And this is exactly the trap that Plisson falls into, so empathetic with his heroine that he is content to follow her path without transcending her. Pity.
LAILA IN HAIFA ★★ ☆☆☆
By Amos Gitaï
Let us praise the relentlessness with which the filmmaker Amos Gitaï (Kadosh, Free Zone, A tram in Jerusalem …) uses his art to bring Israelis and Palestinians closer together. His new feature film takes place almost entirely in a Mecca of the night of Haifa, the Club Fattoush, opened in reaction to the closure by the town hall of the only Arab theater in the city. The film begins with a long sequence shot connecting the outside of the street (witness to a scene of violence) inside the bar with warm and welcoming colors. The caressing camera embraces this protected space and operates a circulation between various protagonists – men and women, Israelis and Palestinians – who cross and meet again. Unfortunately the fluidity of the gesture does not prevent the sententious aspect of a scenario too demonstrative to convince.
ATARRABI AND MIKELATS ★★ ☆☆☆
By Eugène Green
Cantor of a deliciously literary cinema for some, unbearably fussy for others, where the phrasing of its actors recalls those of Bresson and Rohmer, Eugène Green attacks here a myth of Basque culture. Two brothers, Atarrabi and Mikelats are entrusted to their mother in the devil before, when they become young adults, the first decides to run away, while the second stays. Shot in Basque, this film inevitably stands out in the French cinematographic landscape and this radical ode to spirituality will leave many by the wayside. She is never better than in her first minutes where a delicious sense of self-mockery reigns, but loses its power when the spirit of seriousness takes power and never let it go. The childish happiness of a Rohmer filming Les Amours d ‘Astree and Celadon is sorely lacking here.
FIRST DIDN’T LIKE
BE WITH THE BEES ★ ☆☆☆☆
By Perrine Bertrand
” Deal with nature and not against it », Can we read on a card at the beginning ofBeing with the bees. A good summary of this documentary which spends over an hour explaining in detail why bees are essential, and how to best preserve their well-being, disrupted by human activity. The shape is classic (a series of beekeeping specialists follow one another on the screen), the assembly a little ” roots And approximate. But rather than cry for the fate we are doing to these insects, Being with the bees takes the side of the positive and wants to believe in our ability to make things happen. What is felt moreover in the realization: avoiding the “sensational” shots of bees and the openings of hives, it is already a little act.
Afrofuturistik by Sofia Alaoui, Jim Chuchu, Kantarama Gahigiri, CJ Obasi and Baloji
Malignant by James Wan
Our links by Frank Llopis
In the name of the Italian people by Dino Risi
The man with the Ferrari by Dino Risi
Woman’s perfume by Dino Risi