Here is the illustrated summary for the September 2021 issue.
The 521st issue of First arrives in kiosks, with Shang-Chi and the legend of the Ten Rings In front page. The opportunity to take stock of what awaits us in phase 4 of Marvel. We also look back at the best of the last Cannes film festival, which was held exceptionally in July, with in particular an unpublished interview with Julia ducournau, who won the Palme d’Or thanks to his film Titanium, released this summer. Also on the program for this back-to-school issue, a decryption of Dune, the “spice opera” by Denis Villeneuve, portraits of Sofian khammes (A triumph) and of Diane Rouxel (The Land of Men), a meeting with Agnes Hurstel (Young & Golri), but also interviews with Camille Cottin, who tells us about her Hollywood debut (she will soon be in Stillwater, with Matt Damon, then in House of Gucci, by Ridley Scott), by Mathieu Amalric, who signs Hug me tight and of Bruno Dumont (the director of Little Quinquin come back with France).
Without forgetting our critical book, once again well filled: our favorites of the moment are called Le Genou d’Ahed, Drive My Car, France, Un Triomphe, Ride Your Wave…
Drive my car, a dizzying summit of delicacy [critique]
Here is the editorial of this new issue:
New wave
Should we see a sign? As cinemas gradually reopened, Marvel was heading into precisely its Phase IV. With Black Widow, and now Shang-Chi, begins the new era of construction of the Marvel Cinematic Universe. Where to go after the Blip and the Snap? How to reinvent yourself after the end of the game (Endgame) ? This is the whole point of this stage on which the white collar workers of Burbank have been sweating profusely for ages… It is a major turning point in storytelling, which an epidemic has completely shaken up. Beyond the changes in schedules and industrial reconfigurations that we tell you in the following pages, the story of phase IV also tells how Marvel – and the whole industry – will have to compete in invention to remobilize fans and bring spectators back to the theaters. The observation has been known for more than a year: while streaming has imposed itself at a rapid pace, the famous cinema experience must be at the heart of the thinking of the major studios. The films now have the obligation to be up to the theater, they must avoid standardization to create even more desire. We have known this for a long time, but the health situation recalls it every Wednesday.
Gaël Golhen, editor-in-chief
I buy this number
