What to see in theaters
AT THE SAME TIME ★☆☆☆☆
By Benoît Délépine and Gustave Kervern
Compiling clumsy clichés about certain excesses of society, the willingly hirsute filmmaking duo signs a badly dowdy reactionary comedy.
Laurel and Hardy. On one side a right-wing mayor, on the other, an elected ecologist. A drunken night will bring these two opposites together beyond reason. So here is Jonathan Cohen (on the right) and Vincent Macaigne (on the left), forced into a nocturnal road-movie in a soulless provincial town to repair what needs to be repaired. At the same time, not very shrewd feminist activists are rampant in the area and, overcome with remorse, try to save our two unfortunate thieves whom they have put in these dirty sheets. Faithful to their vaguely anar do-it-yourself cinema, the duo Delépine-Kervern intend to knock down the norm. But apart from the fact that nothing is really funny, what can we learn from such a program? That right and left are the same thing? That ecologists and feminists break our ears? It’s stupid and sad, surely involuntary on the part of the two filmmakers. Quickly forget.
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FIRST TO MANY LOVED
TALES OF CHANCE AND OTHER FANTASIES ★★★★☆
By Ryusuke Hamaguchi
A young woman who discovers that her best friend has just started an affair, without knowing it, from her ex. A young mother who resumes her studies and falls under the spell of a successful teacher-author who, by rejecting her advances, causes her infinite pain. A misunderstanding that allows two women to reconcile with a lost being. Three independent stories but linked by a common theme: the feeling of love and the maze it takes between past and present, through chance and coincidence, to become the common thread – sometimes exhilarating, sometimes painful – of our lives. Accustomed to long-term stories (5h17 for Senses3 hours for drive my car), Hamaguchi ventures into the realm of short films like the sequence of three short stories. But without losing anything of everything that makes up the quiet power and bewitching charm of his cinema: the infinite delicacy of his direction, his taste for long dialogues of infinite poetry and fascinatingly complex female characters.
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BAD GUYS ★★★☆☆
By Pierre Perifel
behind these Bad guysthe latest addition to the Dreamworks stable, there is a French director trained at the prestigious Gobelins school in Paris, Pierre Perifel. Here he adapts the adventures of characters from a series of books by Australian author Aaron Blabey. The “villains” in question are animals (a wolf, a shark, a piranha, a snake, a tarantula) specialists in robberies who will try to redeem a virginity for the beautiful eyes of a guinea pig at the uncertain example. Led with great energy, the scenario bets on permanent twists that fire all the woods at the risk of exhaustion. If the realization, like the animation, does not shine by their originality, the effectiveness is undeniable. In voice, Sam Rockwell does a great job. In vf ., it’s Pierre Niney who sticks to it. ” From 6 years old we are told.
A Madrid supermodel returns home to take care of her sick grandmother, and… That’s about it. Well, there is a fantastic little twist, but nothing really bad or upsetting. In fact, it’s not the point ofGrandmotherwhich quickly evacuates some contemporary themes that could have been re-hired. The film just needs to stage a young woman and an old woman to create an absolutely fascinating effect of terror: that caused by the prospect of having to take care of our ancestors at the end of their lives. Having definitely turned his back on the zombie saga RECPaco Plaza is living his best life as a solo director: Speedwell was already an amazing little 80’s possession film. Grandmother digs the same furrow, summoning the great figures of exploitation cinema (Jess Franco, Jean Rollin) without ever submitting to it.
EMPLOYEE/ BOSS ★★★☆☆
By Manuel Nieto Zas
A young Uruguayan agricultural boss (Nahuel Perez Biscayart, excellent), overwhelmed between his job and his baby in fragile health, hires an 18-year-old teenager, just a father too, who needs money to support his family. Their slight age difference allows an immediate rapprochement in a deal where everyone finds their benefit, until a tragic accident comes to overturn everything. The social film on class relations then turns into a thriller with an employee who, by his status as a victim, has a tool of counter-power against his boss. Employee- boss recounts this relationship with a keen sense of the rise in tension, a taste for the off-camera and the exchange of gazes that say more than a thousand words. And in spite of a final straight line that is overly telephoned, the gripping ambiguity which reigns supreme there raises the film above the average.
By Fabrice du Welz
The starting point ofInexorable is somewhere between Theorem and The Hand on the Cradle : the daily life of a novelist lacking in inspiration, his wife and their granddaughter, is disrupted by the arrival of a young woman, Gloria, in their huge residence in the Ardennes… Even if we quickly guess how it’s all going to end (badly), the long introduction of the new Fabrice du Welz is ideal for Chabrolian tension and irony. The grainy photo by Manu Dacosse (“shot in glorious Super Kodak 16mm”, specifies the credits), draws a disturbing, flawed world, as if rotten from the inside, a universe of giallo where everything constantly threatens to go into murderous spins. The actors are all very invested, starting with a Benoît Poelvoorde from the great days, by turns touching, ambiguous and pathetic, who takes the film well beyond a simple exercise in style.
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FIRST TO MODERATELY LOVED
TO INSANITY ★★☆☆☆
By Audrey Estrougo
A few months later Supremesher biopic devoted to the early years of NTM, here is a new Audrey Estrougo in theaters. And this time the director has chosen to place a female trio at the center of her story. In this case a young woman who, for her mother’s birthday, comes to spend a few days in her childhood home and finds there her sister suffering from schizophrenia and regularly plagued by outbursts of uncontrollable violence which has always made people complex these family relationships. Successful in its start for its rise in tension which takes you to the guts, To insanity ends up getting lost trying too hard to multiply the characters (the father, a boyfriend…) and the stories (a sexual assault experienced as a child…) in the story in just 78 minutes. The oversimplification of psychology these parts brought back to what constitutes the vibrating heart ofA leaf leads to too great an artificiality in certain situations, all the more detrimental when it is a question, as is often the case here, of pushing the cursors to the limit, with the succession of crises. Too bad because the duo Virginie Van Robby-Lucie Debay easily overcomes these obstacles put in their way.
THE END OF THE WORLD ★★☆☆☆
By Basil da Cunha
The film begins with a baptism and ends with a funeral. The haunting chords of a church organ accompany the two ceremonies. They return cyclically throughout the story in a mixture of solemnity and torpor, sacredness and despair. “ Guys, do you smell that garbage smell in the air? asks Spira, 18, eight of whom have spent time in a reformatory. Here he is back in the Reboleira district, a Lisbon shantytown where the perspectives do not exceed the mountains of rubbish. The filmmaker glued to the faces of his protagonists reduces the space a little more. The fairly conventional story unfortunately ends up turning against the supposed purpose of the film, presenting this cursed territory as a cutthroat where the population has no choice but to kill each other. In the midst of this chaos the sacrificed lovers make pale figures. ” The end of a world says the title.
By Clara Roquet
Discovered at Critics’ Week, this first feature features Nora, a 15-year-old Spaniard who sees Libertad, a Colombian of her age, whose adventurous temperament causes her to fall accelerated into adulthood. The film recounts the time of the first friendships in life and death, of the first loves also with, in the background, the shadow of the first bereavements (Libertad’s mother was hired to watch over Nora’s grandmother, suffering from Alzheimer) and strained relationships with adults (close to her mother, Nora watches with a curious eye the exchanges between Libertad and hers, which reunite after years of estrangement). This initiatory story full of charm unfortunately remains a little too much in the nails to escape from an ultra-codified genre that we feel its remarkable interpreters ready to shake up, without ever really having the hand to achieve it.
PREMIERE DIDN’T LIKE
LOVERS’ NIGHT ★☆☆☆☆
By Julien Hilmoine
He is a week away from getting married when he meets her one evening at the water’s edge. What begins as flirting will give rise to a night together, just one, full of desire and questions about the tragedy of love. That’s pretty much all that will stir The Night of Lovers for 1h30. A pensum which takes itself very seriously and aims to unravel the feeling of love, but which rings hopelessly hollow. We will especially remember the polished photography and the very intense performances of Laura Muller and Schemci Lauth, which prevent the film from sinking into parody or filmed theater.
Easter in art history by Phil Grabsky
What have we all done to God? by Philippe de Chauveron
Do you know why I jump? by Jerry Rothwell
Rules of the Game by Jean Renoir