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« Elvis », « El Buen Patrón », « les Goûts et les couleurs »… Les films à voir (ou pas) cette semaine


♥♥ Elvis

Biopic musical américain par Baz Luhrmann, avec Austin Butler, Tom Hanks, Olivia DeJonge, Helen Thomson (2h39).

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C’est un film monstrueux sur deux monstres. Un biopic d’Elvis à travers sa relation avec son imprésario et escroc notoire, le colonel Tom Parker, par le David LaChapelle des cinéastes. Un opéra baroque’n’roll, trop long, boursouflé, mais qui raconte le mythe Presley mieux que la plupart des films qui s’y sont attelés. Son enfance dans un quartier miséreux de Memphis, parmi la communauté noire, où il découvre le gospel à l’église et le blues dans un bouge ; son invention (gomina, voix soul et déhanché scandaleux) et avec lui, celle du rockabilly, déflagration historique, en 1956 ; son départ pour le service militaire suivi de son intronisation à Hollywood grâce à une litanie de navets qui le figent en vedette à chemise hawaïenne des dimanches en famille ; sa renaissance en boss du rock et soutien des mouvements pour les droits civiques grâce au concert télévisé Comeback Special de 1968 pour NBC ; son retour en fanfare sur scène puis sa déchéance médicamenteuse…

La suite après la publicité

Baz Luhrmann : « Elvis rapporte plus mort que vivant »

Le réalisateur de « Gatsby le Magnifique » passe tout cela en revue à travers le regard d’Andreas Cornelis van Kuijk, alias le colonel Parker, bonimenteur forain qui fit la carrière du King, défit sa crédibilité rock et le transforma en machine à fric pour Las Vegas, enchaînant les concerts jusqu’à ce que mort s’ensuive. D’où le style circassien du film avec d’un côté Presley, le showman, icône de l’hybridation culturelle érotisée en poupée queer (Austin Butler, aperçu dans le dernier Tarantino), et de l’autre Parker, le snowman – son surnom de camelot –, margoulin repoussant (Tom Hanks, sous des couches de prothèses et de maquillage). Soit l’Amérique du métissage face à celle du capitalisme conservateur.

Le colonel Parker, un parasite dans l’ombre d’Elvis

Ayatollahs de la finesse et sensibles de la rétine, s’abstenir : c’est du Luhrmann dans toute sa splendeur et ses excès, barnum ballonné au montage frénétique, au mixage ahurissant et aux trouées d’inspiration folles (personne n’a aussi bien capté l’énergie, la puissance musicale et scénique du King). A condition de se laisser embarquer, l’expérience vaut le détour. Maître du collage pop, Luhrmann renoue, en mieux, avec l’esprit de « Moulin rouge », sa peinture du show-biz en freak show destructeur et son approche de la comédie musicale façon mashup exténuant. Or quand « Viva Las Vegas » s’accouple avec « Toxic » de Britney Spears sur la bande-son, cela raconte quelque chose. « Elvis a quitté l’immeuble », annonçait-on au micro pour inviter les fans à quitter la salle à la fin de ses spectacles. Soyez prévenus à votre tour : Baz est de retour ! Nicolas Schaller

♥♥ El Buen Patrón

Comédie espagnole par Fernando Léon de Aranoa, avec Javer Bardem, Manolo Solo, Almudena Amor (2h).

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Il est sympa, le patron de cette entreprise de balances industrielles : il aime ses ouvriers, prépare la visite de la commission régionale, se tape une stagiaire, déplore les clameurs d’un licencié et protège son copain d’enfance malmené par son épouse. Savoureuse comédie, qui révèle l’hypocrisie de ce boss paternaliste. Il trouvera, à la fin, sa juste récompense (elle ressemble à une punition). Javier Bardem, transformé en quinqua consensuel, s’amuse à camper un faux-cul et impose cette satire du monde du travail haut la main. François Forestier

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♥♥♥ Les Goûts et les couleurs

Comédie française par Michel Leclerc, avec Rebecca Marder, Félix Moati, Judith Chemla (1h50).

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Dernière compagne de route d’une légende de la chanson française brusquement décédée, Marcia, étoile naissante de la scène musicale, tente de dealer avec l’ayant droit de son idole pour sortir l’album qu’elles préparaient ensemble. Michel Leclerc et sa scénariste, Baya Kasmi, signent un film enthousiasmant qui ose tout, une comédie romantique, satirique, musicale, mélancolique, avec des situations cocasses et dans un style plein d’allégresse. Une réussite qui doit beaucoup à ses comédiens : Félix Moati et Rebecca Marder étincellent de charme, et Judith Chemla, dans le rôle d’une vedette pop entre Brigitte Fontaine et Catherine Ringer, touche au sublime. Xavier Leherpeur

C’EST RATÉ

Black Phone

Film d’horreur américain par Scott Derrickson, avec Mason Thames, Madeleine McGraw, Ethan Hawke (1h43).

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Finney (Mason Thames), un adolescent réservé dont le père, veuf et alcoolique, violente la petite sœur, est enlevé par un tueur en série au visage masqué (Ethan Hawke). Dans le sous-sol où il est séquestré, un vieux téléphone sonne : à l’autre bout du fil, de l’au-delà, les précédentes victimes du tueur tentent d’aider Finney à lui échapper…

Les adolescents ont un extraordinaire pouvoir de résilience, et les fans de cinéma d’horreur vivent dans la nostalgie des années 1970. Partant de ces deux constats, le réalisateur de « Sinister », sous la houlette du producteur Jason Blum, grand manitou de l’épouvante à micro-budget, adapte une nouvelle du fils de Stephen King, Joe Hill. Laquelle n’en méritait pas tant, à en juger par la pauvreté du scénario, une apologie du défonçage de gueule comme vecteur d’émancipation. Dommage pour l’ambiance seventies visuellement réussie. N. S.

♥♥ I’m Your Man

Drame de science-fiction allemand par Maria Schrader, avec Maren Eggert, Dan Stevens, Sandra Hüller (1h45).

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Scientifique reconnue, Alma accepte de se prêter à une expérience inattendue : vivre avec un robot au charisme indéniable (il a les traits du beau Dan Stevens). Cette machine trouble la jeune femme qui tente de nier son attirance pour lui. Tiré d’une nouvelle mais porté par un scénario bancal qui en étire laborieusement les grandes lignes, le film pèche par une mise en scène clinique. Sur le thème de la solitude urbaine de nos vies contemporaines et l’intrusion des intelligences artificielles, il est permis de préférer l’excellente série « Real Humans ». X. L.

♥♥ Jungle rouge

Film d’animation colombien par Juan José Lozano et Zoltan Horvath (1h32).

La suite après la publicité

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La vie et l’œuvre de Raul Reyes, figure marquante des Forces armées révolutionnaires de Colombie (les Farc), planqué de la jungle avec ses otages, trafiquant de drogue, assassin politique, guérillero pur et dur. Sujet controversé, traité en dessins animés, choix bizarre pour un récit quasi documentaire fondé sur les e-mails trouvés dans l’ordinateur de Reyes après sa mort. Ce dernier était-il une crapule terroriste ou bien un illuminé marxiste ? Le film navigue habilement entre les deux options, pour faire du commandante une sorte de colonel Kurtz radicalisé, personnage pittoresque. C’est là que le bât blesse : Reyes héros romanesque ? Il fascine les réalisateurs, mais on n’est pas forcé de partager leur point de vue. F. F.

« La société colombienne accepte plus facilement la figure du narco que celle du guérillero »

♥♥♥ Les Travaux et les jours

Documentaire américano-suédo-japonais par Anders Edström et C. W. Winter, avec Tayako Shiojiri, Hiroharu Shikata (8h11).

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Voici, sur plus de huit heures réparties en trois chapitres, le quotidien d’une agricultrice japonaise. Une fresque naturaliste au long cours, rythmée par les saisons, la dureté d’un labeur sans fin, les maladies puis la disparition des proches. Les deux cinéastes captent au plus près une vie exclusivement sacrifiée à la terre, dans une intimité silencieuse. La composition du cadre, la manière d’y inscrire les corps, les rituels de vie et la mécanique forcenée du travail conditionnent le regard du spectateur qui ressent l’épuisement de l’héroïne. X. L.

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ÇA RESSORT

♥♥♥ Bandits à Orgosolo

Drame italien par Vittorio de Seta, avec Michele Cossu, Peppedu Cuccu, Vittorina Pisano (1h35, 1961).

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C’est le film oublié de la Nouvelle Vague italienne des sixties : un récit quasi-documentaire sur un pâtre sarde qui bascule dans le banditisme. Poussé par la misère et l’injustice, habité par la tradition du défi à l’autorité, Michele, le héros, cherche avant tout à survivre avec une certaine dignité, dans un pays de roches, de soleil, de voleurs, de visages fermés comme des poings. Vittorio de Seta, d’origine palermitaine, sait de quoi il parle : il a filmé le Sud de l’Italie en une dizaine de documentaires, avant de passer à la fiction réaliste. Ici, il capte en noir et blanc l’âme même de la révolte, l’esprit tragique de ces hommes confrontés à un destin inéluctable. Disparu en 2011, Seta a influencé des cinéastes comme Ermanno Olmi ou les frères Taviani. Il mérite d’être redécouvert. F. F.



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The Annecy Animation Film Festival, gateway to Hollywood


Who has never seen paper planes flying in all directions, nor heard the clamor when one of them lands on stage has never been to the Annecy International Animation Film Festival: it is the tradition before the screenings. It contributes to the fiery atmosphere created by the public (average age: 20 years old). The director Michel Ocelot may have collected the prizes, he did not hide his pleasure in receiving, on June 14, the Crystal of Honor. The filmmaker had come to present a preview of his latest film, “The Pharaoh, the savage and the princess” (in theaters on October 19), conceived in the form of three short tales.

The creator of Kirikou – “who is not tall…” “… but who is valiant” roars the room – entrusts his love ” Very peculiar “ for Annecy: “The first part of my professional life was like crossing the desert [il avait 55 ans à la sortie de Kirikou en 1998], but there was one week a year when I was really me, happy, balanced. It was magic when, from the train, I saw the mountains which announced the arrival in Annecy. This intense week of the year allowed me to live. »

And Michel Ocelot opened a wide way for the following generations, including the one present during this 2022 edition, which ended on Saturday June 18 by crowning the film “Le Petit Nicolas – What are we waiting for to be happy ? », by Amandine Fredon and Benjamin Massoubre (in cinemas October 12). “A few years ago, the presence

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Juliette Binoche: “The forest soothes us, invigorates us, gives us back our eyes and our ears”


This Wednesday, June 29 starts the 4e edition of the very beautiful Branche & Ciné festival, of which “l’Obs” is a partner, and which offers the viewing of 22 feature films of the cinephilic heritage in about fifteen forests, particularly in Ile-de-France.

On this occasion, the godmother of Branche & Ciné, the actress Juliette Binoche, explains to us the importance of trees in her life as an artist. And human.

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You have been the sponsor of Branche & Ciné since 2018 and, for this festival, you participated in the production of three documentaries which were broadcast during the opening nights. How did this collaboration start?

On a misunderstanding! In 2018, I was on a set in Japan [celui de « Voyage à Yoshino »] and the festival organizers called me: “Would you like to do an interview with Hayao Miyazaki? » I’m a complete fan of his films and their extraordinary poetry, so I said ” yes “ with great pleasure. But on D-Day, I landed at Studio Ghibli [le studio où sont réalisés les dessins animés de Miyazaki] and discovered with horror that I shouldn’t do an interview with Miyazaki, but… of Miyazaki!

Laurent and Quercus, the story of a friendship between a man and an oak tree

I told them : “Give me ten minutes. » And I prepared in disaster about fifteen questions. Fortunately, I had seen almost all of his films before we met! We then did this filmed interview with this extremely touching man – he was wrung out of a very high fever, but he answered all my questions. In 2019, I had the chance to interview Jacques Perrin and in 2020, Michel Ocelot. Each time, I tried to understand what was their link with nature, the role of forests in their life, their childhood, their work. It was absolutely thrilling.

And you? What role do trees play in your life as an artist?

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They play a huge role in my life, period! To the point that I don’t know where to begin to tell you about it…

From your early childhood perhaps?

The first memory I have of a forest is quite traumatic. I was 4 years old and I was in boarding school in Chevreuse, in the Yvelines. On Thursday, we would go for a walk in the large forest that borders the city and I remember being a little away from the group with a friend. Suddenly, we passed a mushroom picker and we imagined that this man was actually an ogre. He was going to devour us. I had nightmares!

I had been read a lot of children’s stories and I had been very marked by everything that happens to little girls in “Little Red Riding Hood” or in “Hansel and Gretel”. The gingerbread house, brrr… The forest, for me, was above all danger.

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And then ?

I have a very powerful memory of the big tree that stood in the middle of the boarding school yard. This image remained in my mind, and even in my body: one day, I had just received an injection, BCG I believe, and my arm was in great pain. I went to lean against this tree and very distinctly thought: ” I am who I am. » It’s hard to explain, but it was a moment of awareness of my individuality mixed with the feeling of being linked to this tree, to the living, in this great whole that is nature. I told myself, in a way, that I was alone, but with everything. This moment of lucidity came from the pain of the sting – we had to deal with it – and from the relief provided by this tree, both rooted and stretched out towards the sky.

In the Vosges, a forest consumed by global warming

As a teenager, how did you experience this closeness to trees?

We lived in Loir-et-Cher, near several farms – I remember myself, on my bike, pedaling to get eggs, butter or goat cheese. The forests were for me great spaces of openness, beauty and communion with the elements. Alas, the region had already been disfigured by agricultural consolidation: the hedges had been uprooted, the forests cut down to the point of remaining only in the state of fragmented undergrowth… The lack of forest was in fact more striking than the forest itself.

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And today ?

I have the privilege of owning a piece of garden in Paris… but clearly, it’s not enough. This city is so mineral, we suffer from it! For the past few weeks, I have been delighted to have acquired a small farmhouse in the Landes. Whoever lived there before had the good idea to plant a lot of trees for twenty years, it’s extremely beautiful. In addition, the place is a bird sanctuary, so it will remain unbuildable. Of my Parisian trees, I only transported my bonsai. He shared thirty years of my life. I live with him as one lives with an old acquaintance!

What is your most beautiful treed memory of filming?

For “Journey to Yoshino”, which takes place mainly in the forest, I was extremely happy to meet a director who loved trees as much as I did, Naomi Kawase. I lived in a small Buddhist temple in the middle of the forest, the filming generally started very early, around 5 am. I realized how much I missed the forest. When we are in town, we forget, and in the forest, we remember that we forgot it.

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“Since 1985, the French forest has grown, every year, eight times the surface of Paris! »

This distance is basically like a fracture that must be reconciled: the forest soothes us, invigorates us, gives us back our eyes and our ears. In town, we are quickly dazed by our thoughts, the noise, the danger, the concerns, the time that is running out…

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In the forest, each tree is different and communicates differently. It comes to sensitize a different part of ourselves. A birch, an oak or a plane tree do not arouse the same feelings, the same vibrations. When we shot “The Factory of Pandemics” (2022), Marie-Monique Robin’s documentary, we slept in hammocks in primary forest in Guyana. The trees have very different powers in this kind of forest and a presence that makes us more human, that is to say a little more humble!

Interview by Arnaud Gonzague



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The sinister list of filming accidents: when the cinema turns tragic…


The bullet of the Pietta Long Colt 45 1873 replica, shot one meter from the young cinematographer, pierced her heart. She then injured the “Rust” director in the shoulder. The shooter, Alec Baldwin, accidentally killed two people on the set of his western, of which he is the star and the producer. The revolver, declared cold gun by the gunsmith, was not. The mad passion for weapons which is ravaging the United States and which has just killed again in the Texas school of Uvalde is also doing damage to the cinema: between 2010 and 2019, nineteen (real) deaths on the sets. The Italians, since the 1970s, have been able to stem this haemorrhage, by banning rifles, pistols and other calibers whose barrels were not blocked. In the midst of the terrorism of the years of lead, the measure was essential. In the United States, nothing.

However, the examples, on the American sets, are not lacking. We remember the death of Brandon Lee, the son of Bruce Lee, in the middle of filming “The Crow”, in March 1993: a .44 bullet pierced his stomach and lodged in his spine. He died a few hours later, aged 28. Have security measures been tightened following this tragic disappearance? Hardly. However, since the beginnings of cinema, accidents have been legion.

Record holder of the genre: Cecil B. DeMille, the sadistic director of biblical peplums, the bigot in chief of Hollywood. Known for his despotic temperament and his passions – he read

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Actor Jean-Louis Trintignant, legend of cinema and theater, is dead


A key figure in French cinema and theater, Jean-Louis Trintignant died on Friday June 17 at the age of 91, his wife, Mariane Hoepfner Trintignant, announced to AFP in a press release sent by his agent.

“Trintignant by Trintignant”, the confessions of a loner

The actor of “And God… Created Woman”, “A Man and a Woman” and “Love” is “died peacefully, of old age, this morning, at his home, in the Gard, surrounded by his loved ones”, said his wife. His funeral will take place privately.

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Entered the history of cinema with “A man and a woman” by Claude Lelouch, where he played a racing driver in love with Anouk Aimée, he won an interpretation prize at Cannes for “Z” by Costa Gavras in 1969 and a Cesar for best actor for “Amour” (2012) by Michael Haneke, a film that won a Palme d’Or.

Watch Jean-Louis Trintignant in three of his unforgettable roles:

A life marked by several tragedies

His last appearance on the big screen dates from 2019 with “The most beautiful years of a life”, where he found his partner Anouk Aimée and the director Claude Lelouch.

He also made an appearance, facing the camera, during the Cesar 2021 ceremony, where he appeared very diminished.

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Facebook – A shy person at the top of the bill: portrait of Jean-Louis Trintignant

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His life was marked by several tragedies including the death of his daughter Marie, also an actress, killed in 2003 by her companion, the singer Bertrand Cantat. Drama which had caused a stir in France and highlighted the violence against women. Born on December 11, 1930 in Piolenc in the Vaucluse, this son of an industrialist took Charles Dullin’s comedy lessons in Paris, before starting on the boards in 1951.

The President of the Republic Emmanuel Macron saluted the memory of a “tremendous artistic talent” who “has accompanied our lives a little through French cinema”. “It’s a page that turns”added the Head of State, referring to the ” Soft voice “ of the comedian.



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When Jean-Louis Trintignant spoke to us about life, cinema and death


He was a huge figure in French theater and cinema. Jean-Louis Trintignant died on Friday June 17 at the age of 91. In 2012, he granted us an interview on the occasion of the release of the film “Amour” by Michael Haneke. In this drama, with his partner Emmanuelle Riva, Jean-Louis Trintignant fills with his deep humanity and his tender secret behind closed doors, the story of an old couple cracked by illness, waiting for death. We are republishing this article today.

You say you said yes to Michael Haneke because you love Hidden. Haneke was really the only one who could bring you back to the cinema?

Yes. I continued to do theater but I had planned to stop doing cinema.

What was your reaction when you discovered the script for “Love”?

I found it very beautiful but I did not think I would accept. I thought it was a film that would annoy people. And then I was afraid that it would hurt me. It’s an old story, so it affects me personally. The producer, Margaret Ménégoz, told me: “You’re right, but if you don’t make the film, you’ll be worse off. » At that time, I thought a lot about suicide. “I want to kill myself more than to make a film”, I confided to her, to which she replied: “Make the movie, you will kill yourself afterwards; I will help you if you want” [doux rire].

Jean Louis Trintignant, the ultimate evasion

Was the title already “Love”?

Initially, it was called “C

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Jean Louis Trintignant, the ultimate evasion


Even if he healed unthinkable wounds there, we liked to know that he was reclusive in his Protestant stronghold of Uzès to raise his wine, Rouge Garance. Imagine him with his devastating Trintignant smile, leading the conversation with this very special timbre “which made the phrase and the melody converge towards the same node of meaning, to give it its charge and its sensuality and at the same time delivered an ironic, amused and tender nuance” (the analysis is by Denis Podalydès, a great lover of voices). All his life, Jean-Louis Trintignant, 91, will have shied away: from overly traced roads, from certain great authors – Losey, Coppola, Spielberg, Sautet know something about it –, from this showiness he hated, to prefer them the withdrawal, the work a hundred times put back on the loom. In short, the desire and the nobility never to settle down. This June 17, the desperate lover of “A violent summer” (Valerio Zurlini), the mischievous racing driver of “A man and a woman” (Claude Lelouch), the incorruptible judge of “Z” (Costa-Gavras) , the Catholic mathematician of “My night at Maud’s” (Eric Rohmer), the coward steeped in the fascist ideal of “Conformist” (Bernardo Bertolucci), the heartbreaking octogenarian of “Love” (Michael Haneke), has shied away for good with the desperate caress that closes the eyes of the dead. Those who love it will mourn and wear it for a while.

Actor Jean-Louis Trintignant, legend of cinema and theater, is dead

He claimed to be born ” at 20 years ” : the actor sees the

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Colonel Parker, a parasite in the shadow of Elvis


Let’s say Colonel Tom Parker, for lack of anything better. Because he was not a colonel, not an American, not Tom any more than Parker. In “Elvis” (in theaters June 22), in the guise of a padded Tom Hanks, he is sometimes a robber bastard, sometimes a cynically protective grandpa, but the film does not do him justice: Parker still managed to turning the King of Rock ‘n’ Roll into a marshmallow man, racking up $30 million in gambling debts in Las Vegas without Joe Pesci smashing his knees, producing around 30 gelatinous movies, and dying in his bed at 87, happy crook, declaring “We did a good job”, for every prayer. Parker, the master of illusions.

In 1955, in Texarkana, land of rednecks, a vague obese impresario pushes his way between the fire-eaters and swallows handfuls of black pepper. Shabby fairground dragger, he spots a kid who stirs up the storm on stage and makes the girls faint while singing “A wop bop a loo bop a lop bam boom”. Parker signs him and, when turners want to hire Presley, he simply says: “You bring $50,000 in cash, you put it on my bed. If that’s enough, Elvis will come

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Entertainment

“Incredible but true”, “The Way to Happiness”, “Sweat”… Films to see (or not) this week


♥♥ Incredible but true

French comedy by Quentin Dupieux, with Alain Chabat, Léa Drucker, Benoît Magimel, Anaïs Demoustier (1h14).

He counts Monty Python and Bertrand Blier among his masters, but it is Jean-Pierre Mocky that one would be tempted to bring him closer to, given the pace of his production (one title per year) and his frank manners. shooter, star magnet. Quentin Dupieux is a small chemist of the absurd. Film after film, all brief and barred, more successful when the genres hybridize, the deaf anguish and the vagueness remain (“Reality”, “le Daim”), he builds a unique work in minor mode – a range appreciated in music (Dupieux also does electro under the pseudonym of Mr. Oizo) for his melancholy tone. “Mandibles” opened his cinema to a more schoolboy and legible vein that extends “Smoking makes you cough”, presented at the last Cannes Film Festival.

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Filmed between the two, “Incredible but true” is at the crossroads of the nightmarish and the light. To sum up: a couple (Alain Chabat and Léa Drucker) buy the suburban house they dreamed of. He, an insurance agent, aspires to a peaceful life, she, saddened by her age, would add a lot of spice to their daily life. A trap door with supernatural virtues, located in their cellar, will upset their relationship.

Quentin Dupieux: “The heroes of “Mandibles” are very, very stupid and I almost envy them”

Difficult to say more at the risk of spoiling your pleasure, what we come above all to seek at Dupieux: the playground, the playful aspect of a world which resembles ours, but where anything can happen. From the characters to the dialogues, the universe of “Incredible but true”, preserved in a dull image with faded colors, exudes banality. Chabat and Drucker camp a couple plan-plan, their friends, Benoît Magimel and Anaïs Demoustier, are of a very ordinary vulgarity in what is similar, at the beginning, to a parody of French cinema two-room-kitchen. When, at the bend of a property visit then a conversation during a dinner, the film takes a side step, then two, everything shifts. Not enough: we can regret that he does not dig deeper into the vertiginous potential of this trap, a metaphysical idea worthy of an episode of “the Fourth Dimension”, in favor of a more meaningful comedy than usual.

“Incredible but true” plays with the routine of the couple, the fear of aging, youthism and its performative injunctions: freshness for women, virility for men. With a tired Léa Drucker and an Anaïs Demoustier with a rattling voice, once again perfect, a good-spirited Chabat and an exceptional Magimel as a redneck with an electronic cock and ad hoc replies: “A man is someone who must know how to handle firearms, and of all sizes! » Nicholas Schaller

♥♥ The Way to Happiness

Franco-Belgian dramatic comedy by Nicolas Steil, with Simon Abkarian, Pascale Arbillot, Django Schrevens (1h55).

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Brussels, 1980s. Helped by an eminent film critic and by a Jewish restaurant owner whose story inspires him, an apprentice filmmaker puts the finishing touches to a screenplay that revisits the dark hours of the Shoah. Historical fresco, film within the film, impossible love story: for his second feature film, producer Nicolas Steil sees big, and his script sometimes struggles to bring everything together. But he films with communicative generosity his characters who struggle between a traumatic past and the desire to forget. Carried by the imperial Simon Abkarian, this initiatory comedy with accents of memorial tragedy is crossed by melancholy and pays a vibrant tribute to the seventh art, as well as to all anonymous film lovers who prefer to live their existence by proxy in dark rooms than to face the demons of reality. Xavier Leherpeur

♥♥♥ I’m shaking, O matador

Chilean historical drama by Rodrigo Sepúlveda, with Alfredo Castro, Leonardo Ortizgris, Luis Gnecco (1h33).

1986, Chile is under the Pinochet dictatorship. An aging transvestite shelters, one evening of a raid, a guerrilla on the run. In the slums of the city, the two will find comfort in an unexpected friendship in the face of the repression that strikes the gay community and political opponents: tangent worlds, filmed with warmth by Rodrigo Sepúlveda (“Aurora”) and superbly lit by cinematographer Sergio Armstrong. The two characters (one gay, the other straight) circulate in the margins, meet, get lost, find each other, and we learn, little by little, the past of each, made of pain and chance. The film distils an astonishing emotion, for a love story punctuated by moments of humour, dominated by Alfredo Castro, a magnificent actor, director of a troupe called “Theatre of Memory”, who fights against the oblivion of the years of brown plague in Chile. Francois Forestier

♥♥ Sweatshirt

Polish drama by Magnus von Horn, with Magdalena Kolesnik, Julian Swiezewski, Aleksandra Konieczna (1h46).

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With her perfect body sold to everyone through the social networks on which she posts her fitness videos, Sylwia is a renowned influencer. Her smile badly hides a loneliness that she tries to deny. A stalker affair of which she is the victim will definitively crack the hyper-control of her image. Based on a scenario that could have been that of a thesis film, the Polish filmmaker of Swedish origin paints a sensitive portrait of a young woman (impressive Magdalena Kolesnik) trapped by the artificial glare of the spotlights. He films the appearances and behind the scenes of a life where the intoxication of success is essentially adulterated. X.L.

♥♥ The Prince

German drama by Lisa Bierwirth, with Ursula Strauss, Passi, Nsumbo Tango Samuel (2h05).

Monika, curator of an exhibition in Frankfurt, meets Joseph (Passi, the ex-rapper of Ministère AMER, very good), a Congolese immigrant who sees the future in a big way but lives on small schemes. She introduces him to her friends, he, hers, and the couple begins to live together. Clash of cultures, mutual prejudices of their communities… their love begins to crack. Lisa Bierwirth probes with sensitivity the irruption of politics in the private sphere (Does Monika think of getting married so that Joseph obtains his papers, which he retorts: “My father was colonized, I am not”) and spins the metaphor on the diamonds that this anti-hero carries around in his pockets: precious stones or cut glass, like the unknown that remains at the bottom? The film, produced by Maren Ade, would have benefited from being tightened up. Sophie Grassin

IT COMES OUT

♥♥♥ The Truman Show

American comedy by Peter Weir, with Jim Carrey, Ed Harris, Laura Linney, Natascha McElhone (1998, 1h43).

Truman Burbank, average American, lives an uneventful life, in a pretty suburb, with a pretty wife, a pretty landscape. Without knowing it, he has been the hero of a reality TV show for thirty years, and his whole existence is nothing but a scenario in a cardboard decor. His reality is a lie, his job (insurer), a scam, and his wife, an extra. Comes the day of awareness…

“Jim Carrey – America Unmasked”, high-tension comedy

Peter Weir’s best film, absurd comedy not so absurd as that, tasty (and terrifying) philosophical tale, which postulates with genius that we are all puppets manipulated by secret masterminds (television gods?). It’s beautiful, funny, exciting, and Natascha McElhone is adorable. F.F.

♥ Brotherhood

French comedy by Karole Rocher and Barbara Biancardini, with Thomas Ngijol, Samir Guesmi, Marie-Ange Geronimi (1h25).

Dumè believed to be his father’s only son. But when the patriarch of a small Corsican village dies, he discovers that he has a brother. A “metropolitan” whom he has no intention of welcoming with open arms. Especially since Dumè, unlike this prodigal brother, was adopted. A comedy that does not fully assume its initial premise. The fratricidal struggle between the blood child (of Arab origin) and the one who has been adopted (black skinned) is abandoned in favor of a good-natured, somewhat schoolboy rivalry. Too bad because both actors are excellent. But the two directors have only an indolent scenario to stage. X.L.

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♥♥ Tomorrow I cross

Iranian drama by Sepideh Farsi, with Marisha Triantafyllidou, Hanaa Issa, Lydia Fotopoulou (1h21).

Single mother and police officer, Maria accepts a position in Lesbos. An island where the drama of mass migration is played out every day. A separation from his daughter completes the breaking of the fragile thread of their relationship. Until the day Maria crosses paths with Yussof, a handsome young Syrian man. Behind this impossible romance, the reality is darker, like the corruption of law enforcement officials (for a large sum, Maria helps migrants to cross) or the plight of these men and women who fled their country where they were threatened with death (Yussof refused to honor a contract and shoot one of his compatriots). Still, the realization is too illustrative. X.L.

♥♥♥ Loving Highsmith

Swiss documentary by Eva Vitija (1h24).

Who was Patricia Highsmith, author of best-selling novels adapted for the cinema (“Full Sun”, “The American Friend”, “The Stranger from the Nord-Express”), Texan immigrant in Europe, lesbian in a time of little tolerance? Based on Highsmith’s diary, Eva Vitija, a Swiss documentary filmmaker, brings to life a character contrary to the dark image we had of her: she could be funny, passionate, and, contrary to what one perceived in his books, was not interested in murder but in guilt. Living a double life (as in “Carol”, his autobiographical novel), Highsmith finds here, for his 100e birthday (she died in 1995, aged 74), an astonishing dimension: she was simply ahead of her time. F.F.

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♥♥ My love

French documentary by David Teboul (2h52).

The narrator of this filmed essay mourns her lover, Frédéric Luzy, ten years together, who died of an overdose in 2007 just a few months after their breakup. He searches in vain for traces of him in Nevers, the city of the heroine of “Hiroshima mon amour”, then wins the “end to end”, this immaculate desert – from Siberia where faith in the Soviet Union collapsed overnight – to probe the feeling of love among the inhabitants whom he interviews in a corner of their kitchen. Literary text, static shots, slow tracking shots. Here, a man cries for having killed his stepfather. There, another strips naked. Wracked with guilt at not having been able to save the man he loved, David Teboul conjures it up in this lyrical and gripping requiem which manages to deal with mourning in a universal way. S.G.

TO READ

♥♥ Schneider, Adjani, Delon and others. Fifty shards of cinema

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By Jérôme d’Estais. Ed. Marest, 244 p., 19 euros.

Great idea: recount fifty outbursts between actors and directors, fits of anger, sulks, threats, etc. : Belmondo knocking out Melville on the set of “l’Aîné des Ferchaux”, Bardot slapping Clouzot during “La Vérité” and other rises in tension with the great famous characters (Robert Bresson, Maurice Pialat, Andrzej Zulawski). Pleasant reading, unfortunately sometimes spoiled by a fussy writing (“shooting and flashing star of a neo-baroque constellation”, “more Bigelowian heroine than ethereal icon”). Let’s go over the style, let’s keep the anecdotes, tasty. F.F.



Categories
Entertainment

“The Mom and the Whore”, the return to grace of a cursed masterpiece



For fifty years, “La Maman et la Putain”, by Jean Eustache, was the best-shared secret of French cinema. After the filmmaker’s suicide in 1981, Boris Eustache, his son, was often asked to have this cursed masterpiece exhumed, but he stubbornly refused to give up the exploitation rights. Thus the film has remained almost invisible since its release in 1973 and the grand jury prize obtained at the Cannes Film Festival to boos and a few cheers.

There were three or four television broadcasts (on Antenne 2 in 1986, on Canal+ in 1997 and on Arte in 2000 and 2013, on the death of Bernadette Lafont), a few screenings at the Cinémathèque and in student film clubs, to which Boris Eustache lent a copy from time to time; a DVD had been published in Japan and pirate VHS were circulating under the coat. The movie was even available in full on YouTube, rough picture and sputtering sound included.

But seeing “la Maman” again (her nickname among moviegoers) as on the first day was a miracle, now fulfilled thanks to its release, restored in 4K, throughout France. A cinematic event comparable to the reopening of the Lascaux caves for anthropology enthusiasts. We owe it to Films du Losange and Charles Gillibert, new owner of the famous production and distribution entity created by Eric Rohmer, Barbet Schroeder and Pierre Cottrell, the latter being credited as producer in the credits of “La Maman”.

The “fabulous showcase” of