All the video on demand releases of the week.
Every week, we offer you the latest VOD releases on the brand new Première Max by Videofutur service, available on Mac and PC, Android and iOS. Here are the urls to access it:
Macs & PCs: www.premieremax.com
At the exit of The eventher autobiographical novel where Annie Ernaux recounted her journey to have a clandestine abortion in sixties France, the author explained that she wanted to resist “to lyricism and anger. By adapting said prose, Audrey Diwan therefore saw in front of her, a path a priori marked out on which her steps had to somehow respect a rhythm, a mood. To the lyricism, the director therefore responds with an (almost) square image that imprisons a being that the camera follows closely. ” There had to be constraint for there to be a stake. Chabrol once said, scrutinizing Huppert, an angel maker, between four very tight walls in his women’s affair, film duplicate of this one. With Audrey Diwan, the off-screen takes the place of a threat, the setting becoming a sanctuary where the heroine – deemed impure by one era – protects herself, fights and stands ready. Mainly right. The out-of-screen, invisible by nature, prevents the exhibition of a reconstituted era and adds, by subtraction, an increase in timelessness (the fight continues). As for “anger”, the mere fact of seeing Anne (Anamaria Vartolomei, an event in itself!) go to the end of her fight with the apprehensions of a queen and an equally sovereign calm, it is the expression of an underground rage whose vibrations fracture the world. Three years later But you are crazy, where again the threat came from within a body itself, Audrey Diwan signs a survival tense where the stake does not only rest on the facts recounted but on the momentum which makes resistance to the established order possible.
In the cinema, we see a lot, we listen less. Sound is the poor relation of an image which is superior to it by nature, cinema having been silent at first. Godard or Duras, we repeatedly challenged this hierarchy, forcing the viewer to prick up their ears to better understand a deliberately asynchronous world. It’s a noise, a “bang” that invades the whole frame of Memoria. Jessica Holland (Tilda Swinton, magnetic), English exile in Bogotà has heard it and is trying to find its trace, its nature. The invisible must therefore be incarnated in order to exist. Jessica also asks a sound engineer to recreate this noise on the computer. The memory can suddenly rise to the surface of a world capable of welcoming it. It is one of the spiritual and artistic quests of all the work of Apichatpong Weerasethakul, already webbed on the Croisette (Uncle Boonmee, the one who remembers his past lives…), where he won this year a Jury Prize for this present Memoria. 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 film, vibrant everywhere. Each element here becomes a living matter whose mysterious soul leaps in the face. Each film of the Thai sends a spell to the viewer. Faced with so much grace, image and sound interpenetrate to speak with one voice. Memoria was undoubtedly the most intriguing film of the last Cannes Film Festival.
Looking death in the face, a vast program that Emmanuelle Bercot is working on here (Heads up, The Girl from Brest…) Look at her okay but for what? Fix a being like a painter, observe its slow degradation and grasp the concern of erasure. Benjamin (Benoît Magimel) has terminal cancer. The doctor does not beat around the bush. Death is there, prowling and will strike quickly. Inevitably. Benjamin is also a drama teacher and therefore allows young people to reach a form of truth. A work that the convict performs in return, unconsciously working on the own representation of his exit. Emmanuelle Bercot does not hide, her feverish staging abolishes distances, reconfigures the space to prepare for embalming. The patient, listened to by his pupils, listens to his doctor. And when the body no longer allows you to move, you finally have to listen to yourself to settle any accounts. Around, there is also the mother, Crystal (Deneuve), there, weary and helpless; the unrecognized son who hesitates – there, not there? ; or even the nurse (from France) ultimately seduced. To this is added a very documented touch. The boat becomes too heavy, threatens to sink. Melo flashes can’t do everything. But in the center, there is Magimel and his impenetrable face on the surface of which life has nevertheless taken up residence. The light recomposes this beautiful figure at will. In his lifetime is a strange film whose paroxysmal aspects even evoke Palma. It’s not nothing.
And also :
– Bodin’s in Thailand