Jean-Jacques Beineix, the director of “Diva” and “37°2 in the morning”, is dead

Director Jean-Jacques Beineix, author of the cult film 37°2 in the morning », died Thursday at the age of 75, announced his brother Jean-Claude this Friday, January 14 to AFP.

The man who made himself known to the public thanks to “Diva” and “37°2 in the morning”, a story of love and madness with Jean-Hugues Anglade and Béatrice Dalle, died at his Parisian home following a a long illness.

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Also a writer, dialogue writer, screenwriter and film producer, he notably directed the films “Diva” with Richard Bohringer and Gérard Darmon-Dominique Pinon in tandem of killers, “the Moon in the gutter”, with Gérard Depardieu, Nastassja Kinski and Victoria April.

READ ALSO : Jean-Jacques Beineix no longer responds: investigation into a missing person

His first film, “Diva”, a fake thriller around the clandestine recording of an opera singer and a compromising tape for a criminal, did not work at first, before making a splash. “The Parisian” notes: “His enormous success for a first work, two million admissions over more than a year of operation thanks to four Césars won in 1982, “Diva” owes it solely to word of mouth. »

Nominated nine times for the Césars, 37°2 in the morning » was nominated for the Oscar for best foreign film and revealed Béatrice Dalle, who played the character of Betty.

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Feature films and documentaries

Born in Paris, Jean-Jacques Beinex began medical studies before preparing for the prestigious Idhec film school (now Femis), which he narrowly missed.

His first projects lead him to advertising. In particular, he will produce the multi-broadcast anti-AIDS spot “He will not pass by me”. After several projects, he decides to leave the industry. ” It’s good to put your talent at the service of causes “ and advertising, it was not causes”, he will explain.

After 37°2 in the morning » Several films will follow, all failures, including “Roselyne and the lions”. In 2001, after nine years of absence, he returned with “Mortel Transfert », a complete critical and commercial failure. He declares, moreover, that this film heavily indebted him.

Béatrice Dalle: “I am a sadomasochist and I assume it”

This will be the last of his six feature films, followed by documentaries for television (“Children of Romania”, “Place Clichy without complexes”…), under the banner of his production company, Cargo Films.

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In 2016, he was president of the jury of the 29and Tokyo International Film Festival.

Interviewed by “Le Nouvel Observateur” in 1989, Jean-Jacques Beineix declared:

“I have been called a megalomaniac, a tyrant, a puff. Words of violence… But I tried to analyze what I was accused of. I made mistakes, it’s true. And first, the artist’s basic error: confusing his emotion with that of the spectator. It took me more than ten years of cinema to understand that the feeling that you experience deep within yourself is not necessarily shared. We can for example look at an actress, be mad with desire for her and no one will find her interesting. Second fault: my relationship to aesthetics. I gave a lot in there! But it was my pleasure to look and show what I thought was beautiful. I don’t remember who said: “The real is beautiful.” »


“Ouistreham”, “Placed”, “Farewell Monsieur Haffmann”… The films to see (or not) this week

♥♥♥ Ouistreham

French drama by Emmanuel Carrère, with Juliette Binoche, Hélène Lambert, Léa Carne (1h47).

A great reporter, Florence Aubenas pursues the romantic in reality with clairvoyance. A follower of autofiction, Emmanuel Carrère writes literature with reality, which he twists in the light of his own biography. There is evidence that one adapts the other, with “Ouistreham” – preferred title to “Quai de Ouistreham” (Ed. De l’Olivier), which augurs well for some freedoms -, where the The author of “The Adversary” draws Aubenas’ story to himself by dealing with his dear subjects: the imposture and the lie.

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“Not seeing these people is not respecting them”: Juliette Binoche and Emmanuel Carrère talk to us about “Ouistreham”

In “Ouistreham”, Florence Aubenas, who spent several months incognito on the Normandy coast in the jungle of Pôle Emploi and the flash training necessary to escape radiation, then among a squad of housekeepers “In commando” in campsites or on ferries, accumulating, at hellish rates, the hours to survive, becomes the novelist Marianne Winckler. This one intends to return “The invisible visible”, in other words to restore face, existence and dignity to the statistics of the brutalized of the time: thirty bungalows to be cleaned, three rotations of change of sheets and rippling of the toilets to ensure (stopover of one hour and a half) on the boats, eyes edged with fatigue and a broken back, all for peanuts. A character quickly stands out: Christelle (Hélène Lambert), terribly endearing mule head, exhausted comrade, with whom the Parisian bourgeoisie, who sneaks her notes in a notebook, forms a friendship. But what is this affection worth against a social divide that nothing can bridge? If it starts from a just intention, the questionable immersion of Marianne Winckler calls for a chilling outcome. He will be.

From “the Fracture” to “Ouistreham”, real people triumph in the cinema

Certain scenes are successful (a trip to the bowling, the acronyms of Pôle Emploi like “SBAM”, for “Smile, hello, goodbye, thank you”, these trips to the beach that Christelle never allows herself to think of or their exchanges), others less (the episode of the necklace, too manufactured, or the resolution a bit voluntarist of the story). At the origin of the project? Juliette Binoche isolated in front of non-professionals, real precarious workers, Evelyne Porée, Léa Carne… many women and only one man, whose naturalistic, prodigious game rubs off on her own. We will carry this choice to the credit of the film, which manages to paint a portrait of the damned of liberalism doomed to marner without ever protesting: “Don’t try to educate those who have more than you. ” Sophie grassin

♥♥ Placed

French dramatic comedy by Nessim Chikhaoui, with Shaïn Boumedine, Aloïse Sauvage, Julie Depardieu, Philippe Rebbot (1h51).

After a failed act, Elias (Shaïn Boumedine), raised in a city, is ejected from the entrance examination to Science-Po. Thanks to his band of clampins, he falls back on a job as an educator in a “children’s home with a social character”, where, confronted with teenagers in crisis, he learns, day after day, to untie the bags of knots. Despite a predictable script, Nessim Chikhaoui, co-scriptwriter of “Tuche”, puts nuance, warmth and heart to the work. He balances his comedy with serious notations, cares about the interpretation (everyone exists) and, not without a certain modesty, wraps this up quite well. feel-good movie on the strength of the collective in the face of the harshness of life. SG

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♥♥ Farewell Mr. Haffmann

French drama by Fred Cavayé, with Daniel Auteuil, Gilles Lellouche, Sara Giraudeau (1h55).

Beautiful story, adapted from a play by Jean-Philippe Daguerre, between a Jewish jeweler forced into hiding in 1942, and his worker who, little by little, slips towards collaboration. The dramatic articulations of the scenario are sometimes not very subtle, even heavy, but the actors carry this drama behind closed doors. Daniel Auteuil, Gilles Lellouche and Sara Giraudeau arouse an emotion which, without them, would be less obvious. Francois Forestier

♥♥♥ The German Lesson

German drama by Christian Schwochow, with Ulrich Noethen, Tobias Moretti, Levi Eisenblätter (2h05).

Who is Siggi, this young German incarcerated who does not comply with prison rules? Flashback: in a small resort on the shores of the North Sea, he spent part of his childhood under the control of a father, a police commissioner, a stern man and a service-worker. In 1943, this mentality is ideal, in the Nazi system, and Siggi sees the destruction of the work of a painter friend, and the criminal devastation of the Reich. At the same time, he learns the meaning of the word “freedom”… Taken from a novel by Siegfried Lenz (member of the Nazi Party in 1943) published in 1968, the film is impressive by its mastery of direction. Christian Schwochow transforms this cold drama into a brilliant analysis of manipulation and authority. And the image, signed by cinematographer Frank Lamm, is of rare beauty. FF

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♥♥ Dear Evan Hansen

American drama by Stephen Chbosky, with Ben Platt, Julianne Moore, Kaitlyn Dever (2:17).

Following an unfortunate misunderstanding, Evan is taken for the best friend of a high school student who has just killed himself. Incapable of confessing the truth, he is trapped in the chain of lies and the dubious instrumentalisation of the drama. This adaptation of a Broadway hit highlights the unnecessary complexity of the storyline. It is all the more regrettable that this disenchanted musical tragedy, carried by airs of beautiful lyrical flight, clearly shows the distress of American youth. Weight of appearances, suicide, sociability, drug dependence, harassment: the story of this lonely teenager leans in where it hurts. Stifling under the weight of the dramaturgy, the story loses its subtlety and gives birth to a highlighted melody. Xavier Leherpeur


♥♥ The Lost Daughter

Greek-American drama by Maggie Gyllenhaal, starring Olivia Colman, Dakota Johnson, Jessie Buckley, Peter Sarsgaard (2:02). Watch on Netflix.

Literature teacher on vacation on a Greek island, Leda (Olivia Colman), in her fifties, is embarrassed on the beach by a screaming family. She focuses her attention on a young mother and her daughter, and then ends up committing a bizarre act. No need to deflower this adaptation of “Poupée volée”, by Elena Ferrante, a psychological thriller based on a growing tension where the work on sound and the photo of Hélène Louvart play a preponderant role. For her first production, actress Maggie Gyllenhaal, winner of the best screenplay at the Venice Film Festival, chooses to tell about asphyxiation, repression, the mental load linked to motherhood. She does not do badly at all, notwithstanding a few lengths and other insistent sequences, venial debutante sins. S. G.

♥♥ Jane by Charlotte

French documentary by Charlotte Gainsbourg, with Jane Birkin, Charlotte Gainsbourg (1h30).

We know them, these two. They are known so well that Charlotte doesn’t need to fill in the gaps with an invasive commentary. From a concert to a Breton house, Gainsbourg films his sick mother – a good excuse to watch her – by overcoming her modesty, by filming expensive objects, by photographing her a lot as if to keep track of them, by clearing up these misunderstandings that do not exist. have never really hurt. Cousin of “Boxes”, the film by Jane Birkin (2007), its miniature summons the ghosts of Serge and Kate Barry, autopsy the maternal guilt, gets lost in an episode on dogs to end up in a very beautiful final letter listened to by Jane on the beach. Frank, intense, sometimes less, but by no means a “little nothing”. S. G.


♥♥♥ Paragraph 175

English documentary by Rob Epstein and Jeffrey Friedman, commentary by Rupert Everett (2000, 1h17).

They are the forgotten ones of the Nazi camps, the carriers of the pink triangle: the homosexuals, condemned, deported and exterminated in the name of the paragraph 175, German law of 1871 which lasted until 1994. Six survivors (five men, one woman) of the Third Reich, survivors, bear witness to the abominable hell they went through. Twenty-two years after the release of this documentary, they are all dead. Their voices remain, with increased force. F. F.

♥♥ Little Palestine. Journal of a siege

Lebanese documentary by Abdallah al-Khatib (1h29).

A dive in the Yarmouk camp, in Syria, where several thousand Palestinian refugees lived until 2018. Abdallah al-Khatib, who was born there, filmed the daily life of an uprooted population, deprived of hope, subjected to the threat of Bashar al-Assad and, in fine, to the violence of Daesh. Images shot in the face, scenes recorded with the means at hand: a disjointed but irreplaceable film, which touches the precariousness of a painful existence and the quest for dignity. FF


♥♥♥ “From stage to film. Theater, music and cinema around 1900 ”

By Rémy Campos, Alain Cariou and Aurélie Poidevin. Ed. L’Œil d’or, 296 p., 39 euros (with 2 DVD).

The theater world showed utter contempt for silent cinema. Very quickly, however, the filmmakers called on the resources of the scene: the Film d’Art, in particular, laid the foundations, with mimes, acrobats, dancers, classical actors, consecrated works, pieces of music. Stars, like Mounet-Sully, Charles Le Bargy, Régina Badet, Firmin Gémier, make the jump, and films like “The Assassination of the Duke of Guise” (1908) or “Carmen” (1910) are successes. A whole era, magnificently documented. F. F.

♥♥♥ “They all come to the movies! The rise of a popular show (1908-1919) ”

Under the direction of Laurent Véray. Le Passage, 272 p., 29 euros.

From the invention of cinematographic technique to the creative experiments of Abel Gance or Marcel L’Herbier, a series of articles covering ten essential years in the history of the seventh art. Movie theaters, posters, new stars (René Navarre, Musidora, Prince Rigadin, Charlot), fairground shows, religious propaganda, scientific explorations, all areas are flown over, when the war precipitates the need to escape. A new continent is born before our eyes, and the Belle Epoque is fading away. Richly illustrated, a very complete album, and a lot of fun. F. F.

♥♥ Without you

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French dramatic comedy by Sophie Guillemin, with Thierry Godard, Sophie Guillemin, Bruno Solo (1h16).

A phone call from Moscow. At the other end of Europe, just a breath. Enough to launch Antoine, wine negotiator, on the road of a lost love, of a woman he has betrayed. For her first film, the actress Sophie Guillemin films a man lost in immense settings and captures by his staging the immense fragility of Thierry Godard, false force of nature, colossus of clay that she watches crumble . A Russian melancholy fiction, which she produces with a common love for wild landscapes and for the actor. Admittedly, the scenario is fragile, but the magnitude of its framework, the roughness of its assembly and its magnificent direction of actor touch on the fair. X. L.


« Licorice Pizza », « Twist à Bamako », « Luzzu »… Les films à voir (ou pas) cette semaine

♥♥♥♥ Licorice Pizza

Comédie sentimentale américaine, par Paul Thomas Anderson, avec Alana Haim, Cooper Hoffman, Sean Penn, Bradley Cooper (2h13).

« L’amour vrai fleurit pour que le monde en soit témoin », chante Nina Simone dans « July Tree ». Mélopée gracile, charme entêtant, sentiment fugace de félicité, la chanson, une splendeur, ouvre « Licorice Pizza » et en donne d’emblée la clé. Lui, Gary Valentine, a 15 ans et en fait 20. Enfant acteur au visage poupin, il vit avec sa mère et son petit frère et démontre un fort esprit d’entreprise. Elle, Alana Kane, a 25 ans et en fait cinq de moins. Forte tête « au nez très juif », elle papillonne d’un job à l’autre au grand dam de ses parents et de ses deux sœurs. Gary drague Alana, Alana éconduit Gary, trop jeune pour elle. Mais ils ne se quittent plus, Gary ayant à cœur d’associer sa « future épouse » à son commerce naissant de waterbeds. On ne saurait trouver personnages, ton et décors plus différents de « Phantom Thread », le précédent chef-d’œuvre de Paul Thomas Anderson.

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« Licorice Pizza », de Paul Thomas Anderson : « “Aimer” est un mot galvaudé »

Pourtant, « Licorice Pizza » raconte la même chose : le duel d’un couple qui apprivoise ses névroses et la folie du monde alentour avant de pouvoir s’aimer. « Phantom Thread » convoquait les fantômes corsetés de Hitchcock et du roman gothique pour décoincer un grand couturier anglais, vieux garçon, et démêler les fils œdipiens de sa relation à sa muse. « Licorice Pizza » souffle un vent d’innocence et de légèreté, venu de la comédie romantique, dans une Cité des Anges où capitalisme et libération sexuelle font un drôle de ménage. Car la joute sentimentale de ces deux amoureux platoniques dans la San Fernando Valley de 1973, où le sexe est moteur de tout, dessine en creux, au fil de leurs rencontres, un portrait bien barré de Los Angeles. Entre le crépuscule du Hollywood classique (Sean Penn en ersatz de William Holden, has been alcoolo réduit à singer ses exploits passés) et l’égocentrisme cocaïné du Nouvel Hollywood (Bradley Cooper dans la peau du producteur libidineux Jon Peters). Entre la gueule de bois de l’ère Nixon et du choc pétrolier et l’espoir de lendemains meilleurs.

C’est toute la beauté de « Licorice Pizza » que de chroniquer ainsi la ville en épousant les sautes d’humeur et poussées d’hormones de Gary et Alana. Et le génie du réalisateur de « Boogie Nights » que d’avoir choisi la chanteuse Alana Haim et Cooper Hoffman (fils de feu l’acteur fétiche d’Anderson, Philip Seymour Hoffman) pour les incarner. Ils n’avaient jamais joué dans un film, n’ont rien pour être ensemble. Vibrer à l’unisson de leurs personnages (et au rythme d’une bande-son à tomber) apparaît d’autant plus miraculeux. Nicolas Schaller

♥♥♥ Twist à Bamako

Drame français, par Robert Guédiguian, avec Alicia Da Luz Gomes, Stéphane Bak, Issaka Sawadogo (2h09).

Dans les rues de la capitale malienne résonnent les révolutions du début des années 1960 : celle de l’émancipation des corps, avec ce goût de la jeunesse pour les danses occidentales, ainsi que la libération des esprits, avec les prémices de la révolution socialiste. Deux frondes incarnées par Samba, qui traverse le pays pour des missions gouvernementales et tombe amoureux d’une jeune femme ayant fui un mariage arrangé. Avant d’endurer une idéologie autocratique qui finira par le broyer. A la fois politique, romanesque et musical, le film de Guédiguian questionne l’histoire africaine, les saccages du colonialisme et les errements du socialisme. Un récit exalté et lucide, emporté par une mise en scène qui épouse le mouvement de son héros, ivre de jeunesse et d’absolu. Xavier Leherpeur

La suite après la publicité

Robert Guédiguian : « Sans l’union, la gauche va se fracasser à la présidentielle »

♥♥♥ Luzzu

Drame maltais, par Alex Camilleri, avec Jesmark Scicluna, Michela Farrugia, David Scicluna (1h34).

Les couleurs vives – vert, rouge, jaune et bleu – du luzzu, petit bateau de pêche maltais, sont joyeuses, mais c’est un leurre. Même l’œil phénicien, à la proue, ne le protège plus contre l’infortune. D’ailleurs, le luzzu de Jesmark prend l’eau. Il l’a hérité de son père, qui lui-même le tenait du sien. Mais aujourd’hui, la pêche, c’est la dèche. Entre la concurrence industrielle des chalutiers et les quotas imposés par Bruxelles, les artisans pêcheurs sont étranglés, qui rapportent un poisson maigre et rare. Pour survivre, Jesmark, dont l’enfant malade exige des soins coûteux, va devoir pactiser avec des contrebandiers et pratiquer le marché noir. Malgré son physique de jeune premier, Jesmark Scicluna n’est pas comédien. Il est vraiment pêcheur et entouré, ici, d’acteurs non professionnels. Cela donne plus de justesse à ce beau film âpre, le premier d’Alex Camilleri, héritier du néoréalisme italien et cousin sudiste de Ken Loach, où l’on voit se noyer, sous le soleil méditerranéen, un métier ancestral, condamné, comme le luzzu, à la casse. En fait, cette fable marine est un pamphlet. Jérôme Garcin

Alex Camilleri, réalisateur de « Luzzu » : « A Malte, la survie est un art de vivre »


En attendant Bojangles

Comédie dramatique française, par Régis Roinsard, avec Virginie Efira, Romain Duris, Grégory Gadebois (2h05).

Neuf ans après « Populaire », où il s’extasiait devant d’antiques machines à écrire, et après un passage oubliable dans le thriller littéraire (« les Traducteurs », 2019), Régis Roinsard revient à ses premières amours. Soit un cinéma d’antiquaire qui confond la mise en scène avec le travail de chef déco. Rien ne manque à cette reconstitution des années 1950, où se déroule ce drame d’une famille brisée par la folie d’une mère fantasque et adorée. Adaptation ratée du roman d’Olivier Bourdeaut, ce film muséal croule sous l’accumulation d’objets d’époque (45-tours, robes, sacs à main, voitures…) qui semblent plus intéresser le cinéaste que ses personnages. Les comédiens font ce qu’ils peuvent pour faire exister cette tragédie qui ressemble à un mauvais soap pour TF1. X. L.

♥♥♥ Residue

Drame américain, par Merawi Gerima, avec Dennis Lindsey, Obinna Nwachukwu, Taline Stewart (1h30).

Après l’avoir quitté pour suivre une école de cinéma, Jay revient dans le quartier de son enfance pour faire un film sur les rues où il a grandi et qui sont devenues majoritairement blanches. Il se rêve porte-parole de sa communauté, mais découvre que ses anciens amis lui tournent le dos, considérant qu’ayant trahi leur condition et leur classe il n’est pas légitime pour parler à leur place. A travers cette fiction sans doute autobiographique, le cinéaste témoigne de l’incessante lutte entre Blancs et Noirs dans un pays qui n’est pas près de s’unifier autour des questions raciales. Le film se teinte d’une mélancolie révoltée et politique, rageuse et électrique. Une révélation. X. L.

♥♥ Marché noir

Drame policier iranien, par Abbas Amini, avec Amirhosein Fathi, Mani Haghighi, Baran Kosari (1h42).

Appelé à l’aide par son père, gardien de nuit dans un abattoir, pour se débarrasser de deux cadavres trouvés dans une chambre froide, Amir découvre le trafic illégal qui y règne. La culpabilité le ronge quand la famille d’une des victimes le sollicite. A côté de l’implacable « la Loi de Téhéran », cet autre polar iranien primé lui aussi au Festival du Film policier de Reims fait pâle figure. La mise en scène y est plus lâche, la photo, terne, l’interprétation, inégale. Reste la peinture d’une société corrompue où chacun s’arrange comme il peut avec la morale pour survivre. N. S.

La suite après la publicité


♥♥♥ Le Messager

Drame britannique, par Joseph Losey, avec Julie Christie, Alan Bates, Michael Redgrave (1971, 1h58).

« Le Messager »

La palme d’or du Festival de Cannes 1971, hautement méritée. Sans doute le meilleur film de Losey, cinéaste génial qui trouve dans cette histoire d’un gamin servant de passeur entre une aristocrate et un fermier tout ce qu’il aime. Le secret, le conditionnement social, la lutte des classes, l’élégance des formes, et l’ambiance toxique de l’époque 1900. Le scénario de Harold Pinter est au petit point, et le casting, sublime. Losey, cinéaste blacklisté aux Etats-Unis (car de gauche), prend sa revanche et signe un chef-d’œuvre. François Forestier

♥♥♥ Trois films de Dusan Makavejev

Trois films, trois jolies (re)découvertes : Makavejev, cinéaste serbe, a été un peu éclipsé, dans les années 1960-1970, par la Nouvelle Vague tchèque. Mais ses dix films, pourtant, sont étonnants : comédies noires, fantaisies sexuelles, ton ironique parfois grinçant. « L’homme n’est pas un oiseau » (un ingénieur tombe amoureux d’une coiffeuse, 1966), « une Affaire de coeur » (une standardiste a deux amours, 1967), « Innocence sans protection » (un film perdu émerge, 1968) : il y a toujours un sous-texte politique (dans la Yougoslavie de Tito, c’était sain) et un regard un tantinet surréaliste. Makavejev est mort en 2019, à 86 ans, oublié. Il mérite de revivre, avec son cinéma poil à gratter jouissif. F. F.

♥♥ Neige

Polar français, par Jean-Henri Roger et Juliet Berto, avec Juliet Berto, Jean-François Stévenin, Patrick Chesnais (1h30, 1981).

Un curieux film, un peu foutraque, mais bien dans l’air du temps des années 1980 : cette déambulation poétique dans un Pigalle qui n’existe plus, entre paumés, camés et gavroches, a une qualité essentielle, la sincérité. Juliet Berto, disparue en 1990, actrice en marge (Godard, Rivette, Tanner, Doillon), a laissé une silhouette émouvante dans le cinéma français, et a signé trois films, dont ce « Neige » à mi-chemin entre le documentaire et la fiction, où un dealer se fait tuer, ce qui provoque une recherche frénétique d’héroïne par les habitués. Casting incroyable : Raymond Bussières, Bernard Lavilliers, Anna Prucnal, Eddie Constantine, Jean-François Balmer, Paul Le Person et… Nini Crépon, personnage spécialisé dans les rôles de travelos. Toute une époque… F. F.

♥♥ Mes frères et moi

Drame français, par Yohan Manca, avec Maël Rouin Berrandou, Judith Chemla, Dali Benssalah, Sofian Khammes (1h48).

Un été solaire au cœur d’une ville du Sud jamais nommée. Quatre frères vivent dans une cité avec leur mère plongée dans le coma. Les trois aînés se débrouillent pour faire rentrer l’oseille : revente de matériel tombé du camion, deal, emploi de gigolo à la piscine d’un hôtel. Le benjamin, Nour, 14 ans, condamné à des travaux d’intérêt général, rencontre Sarah, chanteuse lyrique. Pavarotti lui sauvera-t-il la mise ? Pour son premier film, Yohan Manca adapte une pièce d’Hédi Tillette de Clermont-Tonnerre, s’appuie sur le chef opérateur de « Mektoub, My Love », Marco Graziaplena, se souvient du cinéma italien et fait confiance à l’excellence de ses acteurs. Caméra posée là où on l’aurait attendue à l’épaule, à l’épaule là où on l’aurait imaginée posée. Emouvant et très prometteur. Sophie Grassin

J’étais à la maison, mais…

Drame allemand, par Angela Schanelec, avec Maren Eggert, Jakob Lassalle, Franz Rogowski (1h45).

La suite après la publicité

Du Bresson sous morphine : un âne entre dans une maison, un gamin de 13 ans revient chez sa mère, des enfants répètent « Hamlet », un type vend un vélo d’occase. Quel rapport ? Aucun, c’est du cinéma existentialiste. Silences religieux entre chaque réplique, scènes qui s’empilent, dialogues en plomb. On sort de là hébété. F. F.


♥♥♥ Dix mille façons de mourir. Point de vue d’un cinéaste sur le western italien

Par Alex Cox, traduit de l’anglais par Alexandre Prouvèze (Carlotta, 624 pages, 50 euros).

Le western italien dans tous ses états. Alex Cox, réalisateur de « Sid and Nancy » et de « Repo Man », partage son enthousiasme pour les cow-boys spaghetti et livre un nombre incroyable d’anecdotes. De « Massacre au Grand Canyon » (1964), de Sergio Corbucci, à « Adios California » (1977) de Michele Lupo, en passant par « Tire encore si tu peux » (1967), de Giulio Questi, et « Chacun pour soi » (1968), de Giorgio Capitani, une chevauchée érudite dans un genre sous-estimé. F. F.

♥♥♥ Une histoire du cinéma français. 1950-1959

Par Philippe Pallin et Denis Zorgnotti (LettMotif, 500 pages, 39 euros).

Ce troisième volume couvre une période faste, souvent noyée dans la production commerciale. C’est l’époque des nanars, mais surtout celle de Max Ophuls, Jacques Becker, René Clair, Julien Duvivier, André Cayatte, Henri Decoin… Les chefs-d’œuvre se succèdent : « la Vérité sur Bébé Donge », « Nous sommes tous des assassins », « Madame de… », « Touchez pas au grisbi »… La renaissance de ce cinéma, après la guerre, est un de ces miracles dont s’émerveillent les deux auteurs de ce livre obligatoire. F. F.

♥♥♥ Jean-Pierre Bacri, le bougon gentilhomme

Par Valérie Benaïm & Sandra Freeman (L’Archipel, 250 pages, 18 euros).

Il a été l’inoubliable moniteur d’auto-école d’« Au bout du conte » , le génial croque-mort de « Grand froid », le grandiose organisateur du « Sens de la fête » : Jean-Pierre Bacri, notre bougon favori, est mort il y a un an, en janvier 2021, à l’âge de 69 ans. Valérie Benaïm et Sandra Freeman retracent le parcours de ce pied-noir qui a fait du désespoir une arme de comique, et, chemin faisant, elles révèlent aussi l’intégrité, la profonde honnêteté de ce comédien qui ne supportait pas l’injustice ni les humiliations des autres. Titulaire de plusieurs César, lauréat de quelques Molières, décoré par le Festival de Cannes, Jean-Pierre Bacri a marqué le cinéma français. Il nous manque, incontestablement. F. F.

Jean-Pierre Bacri est mort et c’était impossible de ne pas l’aimer

♥♥♥ Quentin Tarantino, le cinéma dans le sang

Par Marc Godin et Denis Brusseaux (Editions du Layeur, 156 pages, 29,90 euros).

Qui est Tarantino ? Un frappadingue qui pille le cinéma de série B ? Un génie qui réinvente Hollywood ? Vraie ou fausse valeur ? Marc Godin et Denis Brusseaux font l’autopsie du bonhomme, depuis son apparition avec « Reservoir Dogs » (1992) jusqu’à sa saga de « Once upon a time… in Hollywood » (2019). Cinéma électrique, histoires cauchemardesques, citations cinéphiliques : on connaît les images de Tarantino, personnage haut en couleur, fascinant. Les deux auteurs l’ont rencontré et le font parler : ce gars-là, il a le cinéma dans son ADN et de la pellicule dans le crâne. On aime ou pas, mais impossible de l’ignorer. F. F.

Quentin Tarantino : « “Once Upon a Time… in Hollywood” est une lettre d’amour à LA »

♥♥ Rosy

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Documentaire français, par Marine Barnérias (1h26).

Marine Barnérias, 21 ans, apprend de manière brutale qu’elle est atteinte d’une SEP, une sclérose en plaques, bientôt rebaptisée Rosy. Elle décide de partir neuf mois seule (Nouvelle-Zélande, Birmanie, Mongolie) et de filmer son Journal intime à l’aide de son iPhone : rencontres, cure de silence dans un centre de méditation, fête avec des éleveurs Tsaatan. Ovni sur une reconstruction, soutenu par des paysages somptueux et la musique parfois emphatique de M, « Rosy » finit par emporter une forme d’adhésion grâce au courage, à l’autodérision et à la capacité d’empathie colossale de sa jeune auteure. S. G.


10 things to know about Adam McKay, the director of “Don’t Look Up”

1. Truffaldien

He was born on April 17, 1968, the same day as the Prince of Orange-Nassau, which doesn’t matter. On the other hand, the film “The bride was in black”, by François Truffaut, came out that day. Adam McKay would later put it on his list of favorites.

2. Denver

He was born in Denver, Colorado, a city in which he has illustrious predecessors: Douglas Fairbanks, Hattie McDaniel (the black maid of “Gone with the Wind”), Debra Paget (the exotic dancer of the “Tiger of the Wind”. Bengal ”), Jan-Michael Vincent (the actor of the“ Gunslinger ”) and Texas Guinan, the most famous brothel runner of the 1930s. Denverites, Adam McKay has one preference: Pam Grier, the sexy bombshell of “Foxy Brown”.

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3. Youth

He was one of the founding members of the Upright Citizens Brigade (UCB), an improvisation group created in 1990. Immediate success and installation in New York, where Adam McKay unearths the best possible place in Hell’s Kitchen (“the devil’s kitchen”): a downstairs striptease room. range, where the UCB will give “Big Dirty Hands” (translate yourself).

4. Will Ferrell

He teamed up with Will Ferrell, a rather funny American comedian, with whom he shot several films and directed tons of sketches on “Saturday Night Live”. Long friends, they fell out over a series on the Los Angeles Lakers basketball team. It is nevertheless thanks to Ferrell that McKay met Shira Piven, director, with whom he has two children.

5. “Dont’t Look Up”

This creaky, star-studded satire, where two astronomers clash with political carelessness (Meryl Streep) and talk show host cynicism (Cate Blanchett), arose out of his concern over the climate crisis. Concern shared by Leonardo DiCaprio and Jennifer Lawrence, who play scientists. In order not to offend anyone, it was decided that DiCaprio’s name would appear in the poster first and that of Jennifer Lawrence at the top of the credits.

6. News chaos

The Prime Minister of Croatia, Andrej Plenkovic, urges all his fellow citizens to see “Don’t Look Up”, because of his theme, which is, according to him, “Information chaos”. His opinion is questionable, however, as he said in 2017 that“There has never been a civil war in Croatia”. In politics, watch out for Plenkovic. But for the film, he’s right.

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Adam McKay: “Facebook is as bad as pollution, nuclear weapons, food preservatives, marketing”

7. Finance

In 2015, McKay made “The Big Short,” a tasty saga of the 2007 Great Stock Market Scam, which caused a memorable financial crisis. Brad Pitt was to take the lead role, but he was replaced by Christian Bale. Brad Pitt kept a secondary role, while being a co-producer. Against all odds, the film grossed $ 140 million.

READ ALSO> “The Big Short: the heist of the century”, a vitriolic portrait of the small world of traders

8. Burn

In 2018, McKay signed “Vice”, a vitriolic portrait of Dick Cheney, former vice-president of the United States, and his dictatorial tendencies. His daughter, Liz Cheney, member of the House of Representatives, Republican (but strongly opposed to Trump), criticized actor, Christian Bale: “He had the opportunity to play a superhero, he messed up. “

READ ALSO> Adam McKay: “Dick Cheney shook the whole world and got away with it”

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9. Project

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His next film, “Bad Blood,” will tell the story of the success and failure of Theranos, a biotech company run by Elizabeth Holmes – who has just been convicted of fraud. The screenplay is adapted from the book by John Carreyrou, son of Gérard Carreyrou, former news director of TF1. Jennifer Lawrence takes the lead role, and co-produces the film with her company called Excellent Cadaver. An entire program.

Theranos or the fall of a tech icon

10. Awards

The ‘Succession’ series producer is drowning in awards: his films have earned him five Oscar nominations (and one statuette), four Golden Globes, fifteen Primetime Emmy Awards, and, oddly enough, a Golden Rasperry (the equivalent of the “nanar award” of the year) for “Holmes & Watson”. It is true that, in this film, Sherlock Holmes proves the innocence of a suspect thanks to his tremors caused by excessive masturbation. So the guy couldn’t have committed a murder. CQFD.


“Deception”, “The Card Counter”, “The King’s Man. First mission »… The films to see (or not) this week

♥♥♥ Deception

French drama by Arnaud Desplechin, with Denis Podalydès, Léa Seydoux, Emmanuelle Devos (1h45).

A convinced follower of Philip Roth, as the first name of one of his heroes in several films attests, Nathan (borrowed from the one the American author considers his double: Nathan Zuckerman), Arnaud Desplechin revolved around “Tromperie” , text published in 1990, a long time ago. He takes us into the office of Philip (Denis Podalydès), Jewish American novelist exiled in London and verb fetishist, who is both the psychoanalysis office and the bedroom since every afternoon his English lover (Léa Seydoux ), trapped in a loveless marriage, comes to find her there.

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They sleep there, a little, make conversation, a lot – the lava of the senses leading to that of words -, on the desire, the exile or the supposed anti-Semitism of the English, while breaking the minimalist theatrical device of this camera. thanks to the memories, the phone calls and the ramblings of Philip: ex-conquests struggling with death (Emmanuelle Devos) or with madness (Rebecca Marder), dreamed or real women (Anouk Grinberg in the role of the wife ), reminiscences of his travels in Eastern Europe. The result is a sensual film, a profession of cinematic faith in which one thinks of Bergman and Truffaut, where the actresses, all exceptional, are magnified by the photo of Yorick Le Saux, where the torrent of wonderful dialogues (“When I found you, you were ripe. – No, I was rotting at the foot of the tree ”) gives way to more funny lines: “You are the Albert Schweitzer of the fuck. “

Arnaud Desplechin adapts “Tromperie”: “Like Philip Roth, I advance masked”

But Arnaud Desplechin also splits the armor by staging the lawsuit brought against Philip by a feminist court. Roth was accused of vampirizing the lives of the women he rubbed shoulders with, the filmmaker of “Kings and Queen” of exploiting that of actress Marianne Denicourt (as she recounted in a book co-authored with Judith Perrignon, ” Bad genius ”) or his own family. Should we see in this farce scene a form of response? Philip struggles like hell against these accusations in the name of artistic freedom. Anyway, in an overwhelming and conjuring final sequence, the English lover declines Philip’s offer to be her Nausicaa, and prefers to take on the role of Homer. In other words, to finally become your own narrator. Sophie grassin

♥♥ The Card Counter

American drama by Paul Schrader, with Oscar Isaac, Tye Sheridan, Tiffany Haddish (1h52).

William Tell, ex-torturer at Abu Ghraib, is a gifted card maker: a real human computer, he knows how to calculate chances and hazards. Haunted by a bloody past, he takes under his wing a young student who is the son of another executioner. Together, they will tour the small casinos of suburban America. Paul Schrader, ex-screenwriter of Scorsese, steeped in Christianity, charred by the idea of ​​redemption, tracks down sin and refers to Robert Bresson. Here, he hunts two hares at the same time, the memory of the war and the passion for poker. We have the impression of seeing two separate films, but the part devoted to the game is fascinating. And the atmosphere, unforgettable. Francois Forestier

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♥♥ Lamb

Icelandic fantasy drama by Valdimar Jóhannsson, with Noomi Rapace, Hilmir Snær Guðnason, Björn Hlynur, Haraldsson (1h46).

A farm lost in the Nordic mountains. A couple of breeders monopolizes the offspring of one of their sheep and raises it like their child. Half-beast, half-girl, this one is soon called back to nature. Smoke, it’s Icelandic! Here, animals look more human than men, parents bruised by mourning and driven by their instinct for survival. We would like to know the local legends that permeates this first extraordinary film to better appreciate its mystery and the contemplative rhythm. Domestic tale or transhumanist nightmare? For sure, there is a filmmaker and an actress (Noomi Rapace) who are not afraid of anything. Nicolas schaller

Noomi Rapace, on “Lamb” poster: “All my roles are myself”

♥♥♥ The King’s Man. First mission

American adventure film by Matthew Vaughn, with Ralph Fiennes, Harris Dickinson, Gemma Arterton (2h11).

A nice success. After two successful films (“Secret Services”, 2015, and “the Golden Circle”, 2017), here is the prequel. We witness the birth of the vocation of secret agent of the Duke of Oxford, just before the war of 14. His adventures will lead him to fight Rasputin, cross the path of Gavrilo Princip, unmask Mata Hari, oppose Kitchener (inventor of the concentration camps) and save British royalty. It’s inventive, often very funny, sometimes moving and perfectly paced. This James Bond Old England, played by Ralph Fiennes ticks all the boxes of the adventure story. F. F.

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♥♥ Our best years

Italian dramatic comedy by Gabriele Muccino, with Pierfrancesco Favino, Micaela Ramazzotti, Kim Rossi Stuart (2h15).

But what fly stung the director? Why make a remake of this masterpiece that is “We loved each other so much”? By following the crossed destinies of four friends, from their university years to their middle age, it is a whole part of recent history that we rediscover, and also the disillusion of a generation (We wanted to change the world, it’s the world that changed us). Loves follow one another, friendships fade away, happiness is fleeting. The film is sympathetic, but Gabriele Muccino does not have the grace of Ettore Scola. F. F.

♥♥ The Test

French comedy by Emmanuel Poulain-Arnaud, with Alexandra Lamy, Philippe Katerine, Matteo Perez (1h20).

The discovery of a positive pregnancy test sows doubts and questions in a family at the top of which reigns the mother, always overwhelmed, never overwhelmed. After the excellent “les Cobayes” and the series “3615 Monique”, Emmanuel Poulain-Arnaud confirms a real talent in the (very ravaged) register of French comedy. His sense of rhythm is unstoppable and his art of misunderstanding, light and greedy like chocolate mousse. Without forgetting a formidable direction of actors with, at the head of the poster, the impeccable duo Philippe Katerine and Alexandra Lamy. The nice surprise of this end of the year. Xavier Leherpeur

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♥♥♥ The Children of the Sun

Iranian drama by Majid Majidi, with Rouhollah Zamani, Ali Nassirian, Javad Ezati (1h39).

Children left to fend for themselves survive plundering in the streets of Tehran. They are hired by a thief to unearth a treasure buried under a school. Between a heist film and naturalistic fiction about abused childhood, the author of “Children of the Sky” pays homage to “Treasure Island” and to Dickens. Morality, expected (the real treasure is education), is deferred in favor of a story of urban adventures credible enough in its execution to be socially just and politically worrying. X. L.

♥♥ Next Door

German black comedy by Daniel Brühl, with Daniel Brühl, Peter Kurth, Rike Eckermann (1h32).

About to leave for London, Daniel, an actor, goes to have a drink in the bistro in front of his house. There, he meets Bruno, a neighbor, who, in the conversation, slips mysterious innuendo. Gradually, it turns out that this guy spies the whole life of Daniel and his wife. The confrontation becomes explosive. Is Bruno a mad sadist, a temperamental persecutor or the devil himself? Fascinating behind closed doors, written by Daniel Kehlmann, young author of the excellent “Tyll Ulespiègle” (Actes Sud), this first film by Daniel Brühl as director is a sardonic portrait of Berlin, a bastard city where the ghosts of Germany from the ‘Is still lurking. F. F.

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Daniel Brühl: “I consider myself to be an actor who has directed a film, that’s all”

♥♥♥ Beautiful

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Japanese animated film by Mamoru Hosoda (2h02).

His previous films, including “The Boy and the Beast”, have placed Hosoda among the masters of Japanese animation. This flamboyant variation around “Beauty and the Beast” and Disney adaptations, propels it a step further. An introverted teenager, Suzu is a social media star thanks to her avatar, Belle. A success threatened by the appearance of a virtual and disturbing beast. If we find the author’s favorite themes (violence against children, the loss of innocence, the pretenses of virtual universes), the screenplay revisits them with a new dimension. Here, the graphic power sublimates the story. X. L.


Noomi Rapace, on “Lamb” poster: “All my roles are myself”

High cheekbones, icy smile, hands full of dirt, Noomi Rapace, in Valdimar Johannsson’s “Lamb”, discovers that the lamb that is born on his farm is, in fact, uh… a weird creature? A rejection of evolution? A christ monster? DNA smear? Or, simply, a special effect of Icelandic cinematography? Far from the roles that made her famous – notably that of Lisbeth Salander, the punk hacker on motorcycle of “Millennium” -, Noomi Rapace immerses herself in a peasant character, with a truth that one does not expect to find at a regular at haute couture salons and festivals, where we see her, sometimes wearing a blonde wig, sometimes made up like an houri. It is this faculty of transformation which led her to play in “Prometheus” by Ridley Scott, in “Passion” by Brian De Palma or even in “When the night comes” by Michaël R. Roskam. At 42 years old, this daughter of a flamenco singer and a theater director, after a stormy adolescence, has found her way: to remain herself, “Whatever the costume”. We will soon see her as a witch in a Serbian film and a hired killer in an American title. Passing through Paris, enthusiastic, warm, she looks back on her past. With humour. And with the Swedish accent.

“Deception”, “The Card Counter”, “The King’s Man. First mission »… The films to see (or not) this week

It’s hard to play Maria, the peasant girl who does not correspond so little to

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Jean-Marc Vallée, director of “Dallas Buyers Club” and “Big Little Lies”, is dead

Canadian director Jean-Marc Vallée, author of the film “Dallas Buyers Club”, has died at the age of 58, his agency announced on Sunday.

“Rest in peace, Jean-Marc Vallée. The world is much less interesting without you ”, wrote the Hive Communication Collective agency on Instagram.

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The film “Dallas Buyers Club” (2013) was Oscar nominated and won an Oscar for actors Matthew McConaughey and Jared Leto.

The Quebec director had recently obtained an Emmy for the first season of “Big Little Lies” (“Petits secrets, grands mensonges”) series produced by HBO and was also praised for “Sharp Objects”.

“Shocked by the news of her sudden death”

Jean-Marc Vallée died suddenly at his home near Quebec City, according to US media.

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The HBO channel declared itself “Shocked by the news of her sudden death”. “Jean-Marc Vallee was a brilliant and conscientious director”, she added in a statement released by The Hollywood Reporter.

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“Jean-Marc had bet on authenticity, doing things differently”, its co-producer, Nathan Ross, said in a statement. “The maestro will be missed, but it’s heartwarming to know that the beauty of his style and the power of his work will outlive him”.


“It was wrong”: actor James Franco admits sex with students from his acting school

American actor James Franco, accused of sexual harassment by several women, admitted to having had relations “Agreed” with students in his drama class and felt that this shouldn’t have happened.

Among the accusers of Franco, now 43, are four former students of the school he had started in Hollywood. They had publicly denounced the actor’s inappropriate behavior in 2018, after the latter received his Golden Globe by wearing a buttonhole in support of the Time’s Up organization for the defense of victims of sexual assault.

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“I slept with students”

“Listen, I admit it, I slept with some students”, said the artist in an interview broadcast Thursday, November 24 on SiriusXM radio, his first on the subject since 2018.

“Over the course of my teaching, I slept with students, and it was bad. But that’s not why I opened the school ”, he defends himself.

A student had in particular told how she participated, with several other women, in a nude scene when Franco would have removed the protective plastic films covering the private parts of the actresses while he was playing simulated scenes of oral sex.

“G want to dance with you”: the story of the freelance writer, the editor-in-chief and the C8 channel

Two others claimed that the actor asked them and other actresses to take off their tops while filming at a strip club.

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One last finally assured that James Franco “Always made everyone feel that there could be roles at play if we were ready to perform sex acts or take off our top”.

“If it’s consenting, it’s OK”

The artist and his lawyers have always refuted these accusations.

In his interview, Franco once again denied having had relations with students enrolled in a course entitled “Sex Scenes”. He assures that the course had a “Provocative title” but was not intended specifically to instruct the participants on these erotic scenes.

Nicolas Hulot case: investigation of a long ignored word

“It was not a Machiavellian plan on my part […] but yes, there were cases where I had something consensual with a student and I should not have ”, he said.

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In his defense, he spoke of his alcohol addiction when he was a teenager, believing that he replaced it as an adult with an addiction to sex and his own celebrity.

“I guess at the time I was thinking if it is consenting, it is OK, he pleaded, recognizing now that “That’s probably not cool”.


“Matrix Resurrections”, “Madeleine Collins”, “the Crusade” … Films to see (or not) this week

♥ Matrix Resurrections

Science fiction film by Lana Wachowski, with Keanu Reeves, Carrie-Anne Moss (2h28).

The first “Matrix” marked its time, a cyberpunk blockbuster which amalgamated a part of SF (from “1984” to “Terminator 2”) in an unprecedented form and anticipated our future as virtual beings in the face of conspiracy theories. This new opus is presented as its meta remake around a Neo (Keanu Reeves) caught up by the system, which fans remind of his legend and love. Exit the film noir undergrounds, make way for the open-air explosion of colors. In the meantime, the Wachowski brothers have become sisters. The sub-text queer and emancipatory was stronger in the original than in this vaguely postmodern, ugly and opportunistic porridge, signed by Lana alone. Resurrection? Burial, yes. Nicolas schaller

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♥♥♥ Madeleine Collins

French drama by Antoine Barraud, with Virginie Efira, Bruno Salomone, Quim Gutiérrez (1h47).

On both sides of the Swiss border, Madeleine leads a double life. The proverb that “he who has two houses loses his reason” is true. Caught in a trap that she herself built, our heroine loses her footing. After two remarkable films, “Les Gouffres” and “Le Dos rouge”, Antoine Barraud pursues his refined art of strangeness and unease. Its staging never ceases to blur our certainties: frames and editing create a succession of illusions and pretenses. A mental nebula where Virginie Efira finds a role commensurate with her immense talent. As disturbing as it is subtle. Xavier Leherpeur


♥♥♥ Don’t Look Up. Cosmic denial

American Satire by Adam McKay, with Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Cate Blanchett (2:25). On Netflix from December 24.

The scientists are clear: in six months and fourteen days, a comet will strike the Earth and take us all. The President of the United States (Meryl Streep) does not care, too busy with revelations about the past as an erotic actor of a candidate for the Supreme Court. The media are having fun, audience curve obliges. What to do ? The two whistleblowers (Jennifer Lawrence and Leonardo DiCaprio) wonder. It’s a big farce, full of stars, in the spirit of “Doctor Struggle”, “Network” and “Idiocracy”, the models of Adam McKay (“Vice”). The satire of the White House, the info-spectacle and our submission to Gafa is poignant, and the observation, overwhelming: replace the meteorite with global warming, we are right in it. So let’s have fun while we wait for the end! NS

♥♥ The Crusade

French comedy by Louis Garrel, with Joseph Engel, Louis Garrel, Laetitia Casta (1h07).

A couple of ailments are completely overwhelmed: their 13-year-old son has sold their valuables on the web to finance, with his classmates, a project to save the planet. This short fable about youth in the face of the climate emergency is the latest scenario by Jean-Claude Carrière, who died last February. Has he finished it? We wonder in front of the crazy aspect of the film, full of charm when it portrays the kids as responsible mini-adults (formidable Joseph Engel) on a Spielbergian music by Grégoire Hetzel, less convincing when he focuses on the parents, played by the real couple Laetitia Casta-Louis Garrel, whose self-criticism is not without finesse. NS

♥♥ White Building

Cambodian social drama by Kavich Neang, with Chhun Piseth, Soem Chinnaro, Jany Min (1h30).

Between scooter rides and choreography rehearsals, Samnang, 20, unfolds the deceptively carefree course of a life where social determinism leaves little room for hope. His father is ill, and the substandard apartments in his apartment building are going to be sold. The inhabitants are organizing to oppose their eviction. Set against the backdrop of Cambodia’s urban and economic transformation, the filmmaker, whose first film it is, combines political fiction and an introductory story. If his cinema still remains under influences (Wong Kar-wai, Tsai Ming-liang), he frees himself from it thanks to a sharp and melancholy staging. XL

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♥♥ My Kid

Israeli drama by Nir Bergman, with Shai Avivi, Noam Imber, Smadi Woflman (1h34).

Aaron raised his autistic son, now a young adult, on his own. While he must accompany him to a specialized home, he runs away with him, to the great displeasure of the mother. The dilemma of parents of disabled children through a road movie placed under the overwhelming aegis of Chaplin’s “Kid”. Correctness, a lot of tenderness, but little cinema in this film of actors directed by a screenwriter of the series “BeTipul” (source of “In therapy”), carried by the excellent Shai Avivi, endearing double of Philip Roth, and young Noam Imber, who are challenged to guess if he’s actually autistic (answer: he’s an actor). N. S.


Slim then 2!

French comedy by Charlotte de Turckheim, with Catherine Hosmalin, Lola Dewaere, Charlotte de Turckheim (1h45).

Nine years after “Damn, then! “, Round cure in Brides-les-Bains (1.5 million spectators), Charlotte de Turckheim is back. Isabelle (Turckheim) and Nina (Lola Dewaere) are opening a “fasting and detox” center in Provence. Among their clients: Emilie (Catherine Hosmalin), just left by her husband for a wrapped up man – which makes her a bit homophobic – or four coated teenagers. Injunctions on appearances, self-acceptance, threat of sexual harassment, toxic influence … Turckheim rides the zeitgeist to complete a comedy devoid of cinematographic vista, thickened with a few witticisms (“To win, you have to lose”), at the announced happy end. Not thick. Sophie grassin

♥♥♥ Copyright Van Gogh

Chinese documentary by Haibo Yu and Kiki Tianqi Yu (1h29).

In Dafen, a village in South China, the local industry is the mass reproduction of masterpieces of world painting: slaves are forced to paint Monets, Mona Lisa, and chain naïves, for poverty wages. Large industry: turnover of 30 million euros, 20,000 employees. Xiayong, specialized in Van Gogh, has copied the famous “Sunflowers” ​​thousands of times. Is he a forger? A victim ? what is a copyright ? Xiayong, in his own way, isn’t he an artist? The film asks the question: what is art ?, and shows modern China, the paradise of the most aggressive and misguided capitalism. Francois Forestier

♥♥ All in scene 2

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American animated film by Garth Jennings, with the French voices of Jenifer Bartoli, Elodie Martelet (1h50).

The previous opus was amused by the tele-hook shows which abound on our screens. This sequel is a tribute to musicals. Wounded in his self-esteem by the sharp criticism of a producer who sees in her show only a small regional show, the koala Buster decides to put on a musical which will be remembered, koala faith. And who cares if he promises the presence on stage of a great name in music – a blatant lie that will cause many hiccups. A sparkling film, despite an unnecessarily tangled scenario. X. L.


France Télévisions and Brut, new media partners of the Cannes Film Festival

The Cannes Film Festival announced this Thursday, December 16 that it had signed an agreement with France Télévisions and the 100% video digital media Brut, which will be the new media partners of the film competition.

“Taking note of the renunciation of Canal +, the Festival has signed a memorandum of understanding with France Télévisions and the media Brut”, said the management of the Cannes competition in a press release.

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The selection of Cannes 2021, hand-sewn for Mylène Farmer?

This announcement comes after that Sunday of Gérald-Brice Viret, director of antennas and programs of Canal +, ending a twenty-eight-year partnership with the Cannes competition. ” Between Cannes and Canal +, it’s a long love story. We faced an escalation from the public service, which offered more money than us ”, had affirmed the leader to the “JDD”.

“We did not want to participate in this escalation, so we withdrew from the call for tenders”, explained Gérald-Brice Viret, assuring that despite the prestige of the Cannes festival, ” the audience is not always up to the task with around 600 000 viewers per gala evening ».

How Brut became “an awareness accelerator”

The Cannes Film Festival for its part this Thursday disputes the statements of the senior manager of Canal +. ” It was agreed that the president of the Cannes Film Festival, Pierre Lescure, proposes that Canal + be given the possibility of enriching its offer before a second and final consultation of the directors takes place ”, is it exposed in the press release.

Denial of the festival on the financial argument

Maxime Saada, Chairman of the Management Board of Canal +, “ said he was open to these proposals ”, ensures the festival. ” It is therefore with surprise that we discovered the statements of Gérald-Brice Viret ”, support the leaders of the competition.

The sequel after the advertisement

The latter also refute the argument of Canal + about a ” financial escalation “ from France Télévisions and Brut, asserting: “The two proposals were financially similar overall and the public service did not therefore engage in any bidding. On the other hand, it is on the content that the difference is made ”, they say.

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“The public television group, uniting all of its channels (F2, F3, F5 and Culturebox), and the Brut media, aimed at young people and with strong coverage abroad, have proposed, in s ‘associating, an unprecedented work perspective ” for the 75e edition of the festival to be held from May 17 to 28, 2022.

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Canal + ” having expressed the desire to be nevertheless present on the Croisette, we will welcome him in the best conditions ».

The sequel after the advertisement

From mid-January, the festival will unveil “ after a few weeks of work, the outlines of this new partnership ”.