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“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.



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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”.



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“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”.



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“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

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♥♥♥ 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.

IT MISSED

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.



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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.

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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.

READ ALSO> 35 Cannes festivals in the paws: the confidences of Denisot

“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 ».

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



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Paolo Sorrentino signs “the Hand of God” on Netflix: “90% of the film is true”


Have we ever seen a filmmaker recreate the death of his parents like this, straightforwardly? Sudden, stupid, inconceivable death. The scene, full of love, domestic sweetness and even fantasy, is as unexpected as the drama that struck Paolo Sorrentino at the age of 16. How did he approach the staging of such a moment? “I reconstructed what happened. “

The director, “droopyesque” face bordered by sideburns, will remain in this laconic mode throughout the interview. “My film speaks for me”, one hears behind each concise answer, released without animosity but with the tone of one who would prefer to be elsewhere and pencils in his notepad. Failing to give himself up, at least he could have offered us his drawing.

Sorrentino was to be with his parents on the fateful day, but he failed them to attend a soccer match played by the Napoli team, led by the city idol in 1986: Diego Maradona. The “hand of God” (nickname of the Argentine player after his goal scored with the paw against England at a World Cup) struck twice this

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“A hero”, “Dear Lea”, “the Hand of God”… Films to see (or not) this week


♥♥♥ A hero

Iranian drama by Asghar Farhadi, with Amir Jadidi, Mohsen Tanabandeh, Sahar Goldust, Fereshteh Sadre Orafaiy (2:07).

Even when he’s not smiling, he’s smiling. A calligraphy painter, Rahim (Amir Jadidi) has a noble and deceptive face. You never know what he’s thinking. Whether his humility and altruism are sincere or feigned. Whether he wants to take the light or run away from it. Brag or hide. On his own, he embodies all of Asghar Farhadi’s cinema, which gives pride of place, even in a fleeting but decisive scene, indecipherable, impenetrable, in order to leave the spectator, this detective of the shadow, the freedom of one’s own conviction. On a street in Shiraz, the historic capital of Persia, a woman finds a bag full of gold coins. She is the clandestine companion of Rahim, a divorced and incarcerated man, who enjoys a two-day leave. This treasure could allow him to repay the debt, contracted to his inflexible brother-in-law, which earned him a three-year sentence in prison.

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Asghar Farhadi, director of “A hero”: “I compose with the restrictions imposed on me”

After a hesitation about which nothing will be said – this is the primitive scene – he decides to return the money to the one who lost it, via a small advertisement. The affair is publicized, the propaganda is set up, the social networks ignite. Rahim becomes “a hero”, whose loyalty and integrity are praised. Iranian television camps in front of the prison, where the management, confronted with a series of suicides which it hopes to camouflage in this way, cajoles this model captive to whom it grants, as a reward, provisional release. The presence, at his side, on the stages where it is celebrated, of his stammering young son adds to the humanity of the prodigal father and to the emotion of his admirers. But the machine for making a living legend, which operates at full speed in this autocratic country, will quickly stop. Soon, haro on the hero.

Asghar Farhadi: “Our role, as directors, is to be as close as possible to life”

After detours less inspired and more touristic by France (“the Past”) and Spain (“Everybody Knows”), the filmmaker of “La Fête du feu” and “Une separation” is back in his country. native, of which he films like no one else the daily Kafkaesque, the implacable administration, the invisible Caesarism of the mullahs, and here he is at the top of his art. Master of the ellipse, the parable and the trompe-l’oeil, Farhadi follows the destiny of his hero, who at the same time becomes famous and is lost, to better denounce all that gnaws, ugly and despairs Iranian society. . His painting of manners is based, as always, on a Hitchcockian dramaturgy, a scenario with a line, where the suspense borrows from the thriller. A devious thriller, without gunshots or crime scenes. Grand prize at the Cannes Film Festival, “A hero” would have deserved palm gold. Jerome Garcin

♥♥ Dear Léa

French comedy by Jérôme Bonnell, with Grégory Montel, Grégory Gadebois, Anaïs Demoustier, Léa Drucker (1h30).

Unit of time: twenty-four hours, and place. Or the rout of Jonas (Grégory Montel), obsessed with the idea of ​​recovering the object of his passion: Léa (Anaïs Demoustier), lyrical singer tired of her indecision. From the bar downstairs, he writes her a letter under the eyes of the boss (Grégory Gadebois), a benevolent spectator, then crosses paths with his ex-wife (Léa Drucker, who, in one scene, infuses the film with gravity). A filmmaker of infinite delicacy, Jérôme Bonnell probes masculine fragility by mixing several destinies – psychotic, crooked entrepreneur -, so many distorted projections of Jonas. Misalignment of feelings and misunderstandings abound in this melancholy comedy punctuated by “the Letter to Elise”, which deals with a thorny theme: how to grow up saying goodbye? Sophie grassin

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♥♥ The Beta Test

American satirical thriller by Jim Cummings and PJ McCabe, with Jim Cummings, Virginia Newcomb, PJ McCabe (1h31).

On the verge of marriage, a long-toothed artist receives an anonymous invitation to a sexual date, which he honors. After the overrated “Thunder Road”, actor-director Jim Cummings, sort of Jim Carrey of independent cinema (tense physique, neurotic smile and embarrassment humor), does better with this twisted satire of Hollywood, temple of stupor and of the sofa promotion, at the time of #MeToo, cybertrafic and neopuritanism. Uneven but stimulating, with an unusual thriller side around toxic virility. Nicolas schaller

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♥♥♥♥ God’s hand

Italian dramatic comedy by Paolo Sorrentino, with Filippo Scotti, Toni Servillo, Teresa Saponangelo (2h14). On Netflix.

Far from the advertising glaze sometimes attached to his baroque visions, without the irony that masked his humanity, Paolo Sorrentino lays bare and gives us the keys to his cinema through the story of his Neapolitan adolescence, marked by the arrival of Maradona in the local soccer team and by the sudden death of his parents when he was 16 years old. By shifting his film from the family chronicle, biting and warm, to the melancholy of a wandering in sublimated Naples, the director of “la Grande Bellezza” gives us to experience his wound, the feeling of loss and the loneliness that conditioned his artistic sensitivity. His most beautiful film. NS

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Paolo Sorrentino signs “the Hand of God” on Netflix: “90% of the film is true”

♥ Bad Luck Banging or Loony Porn

Romanian comedy by Radu Jude, with Katia Pascariu, Claudia Ieremia, Olimpia Mălai (1h46).

Nothing is more annoying than comedy punks who take themselves seriously. Radu Jude is one of them. He holds a relevant postulate (the leak of a sextape filmed with her husband leads to the banishment of a teacher, called to appear in front of the parents of the students), testifies to a delightful subversive madness (frontal sex in the introduction) , but takes pleasure in author’s poses, a misanthropy and a catch-all side which drowns his remarks on the drifts of the time and Romanian mores (extreme right, Puritanism, consumerism), much more obscene than a part legs in the air. Golden Bear at the Berlinale 2021. NS

♥♥ Dragon Princess

French cartoon by Jean-Jacques Denis and Anthony Roux, with the voices of Lila Lacombe, Kaycie Chase (1h14).

Summoned by the frog sorceress Worcenog to give him his second greatest asset, Dragon, threatened by an extinction of flames, yields to him Hair, his little human daughter. Which travels the world, meets there an altruistic princess and her very greedy father. An anti-capitalist fable which denounces the frenzied race of men for profit. The drawing, of a standard quality, sometimes touches virtuosity when it plays with distinct colors. And when, with the dragon, the animation abandons the wise clear line and is inspired by watercolor to compose a fairy creature of any beauty. Xavier Leherpeur

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♥♥ The Snow Panther

French documentary by Marie Amiguet and Vincent Munier (1h32).

“Forget your pain, ignore time. “ On the Tibetan highlands, cathedral of silence, Vincent Munier, wildlife photographer whose photos are to die for, shares with Sylvain Tesson, travel writer, the science of the lookout, the perception of the invisible and the art of immobility. Both are looking for the snow panther (to which the author dedicated a book crowned with the Renaudot Prize in 2019). To the silence of Munier, Sylvain Tesson opposes in voice-over his aphorisms on the absurdity of our small social theater, the vanities of our modern epilepsy, the inanity of his lectures and other yelps. Not devoid of humor and quite fascinating. SG

♥♥♥ The Symphony of Trees

Norwegian documentary by Hans Lukas Hansen (1h30).

A Cremona luthier’s dream: to match the perfection of a Stradivarius. Gaspar Borchardt gets down to it, and searches. A special maple must be found in the forests of central Europe. A quest for the Grail, described with humor and talent by this Norwegian filmmaker, whose film introduces us to a crazy violin. In woods full of mines, in dangerous areas, Borchardt hits the trees to listen to the resonance, like a woodpecker. A true fairy tale, where the trees sing. Francois Forestier

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TO READ

♥♥♥ Clint Eastwood. The last of the giants

By Guillaume Evin. Hugo Image, 192 p., 400 photos, 24.95 euros.

The saga of an actor that 1960s producers called “Brave kid”. Discovered with the trilogy of Italian “Dollars”, Clint Eastwood knew how to combine his personal expression (forty films as a director) and his acting career (80 films). At 91, the last survivor of the era of the stars, Eastwood is an icon, and Guillaume Evin describes with passion this astonishing cinema life. We also discover a man who remains, in many ways, an unknown. F. F.

♥♥♥ The Atlas of cinema. Around the world in 360 films

By Olivier Bousquet and Arnaud Devillard. EPA, 544 p., 49.95 euros.

Between the fear of the Covid and the worsening of our carbon footprint, it is advisable to travel immobile. It is possible with this opulent atlas of the seventh art. From works to the places they have immortalized, from surveyed towns to reconstituted neighborhoods, from mythical studios to ephemeral sets, this world tour takes you up, educates and revives our memories of the films, when it does not give a furious desire to (re )to discover. A very beautiful book. N. S.

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♥♥♥♥ Date with fear. The horror cinema from “Nosferatu” to “Get Out”

By Olivier Bonnard and Olivier Bousquet. EPA, 288 p., 35 euros.

Long snubbed by critics, relegated to neighborhood theaters and VHS parties, the horror genre is now recognized, digested by pop culture. From the German Expressionism of the 1920s to the Palme d’Or of “Titanium” through the slasher or the zombie film, its history contains many trends, official or unknown masterpieces, filmmakers and cult scenes that say a lot about the society that gave birth to them. All are reviewed in this sum to the inventive model, prefaced by Alexandre Aja and called to be authoritative. N. S.

♥♥♥ Christmas and his mother

French drama by Arthur Dreyfus, with Noël Herpe, Michelle Herpe (1h30).

In the privacy of a dark theater stage, the fabulous Noël Herpe (in every sense of the word) settles his accounts, without settling them, with his mother. And reciprocally. Coming out of the shadows in turn, lit by a simple spot of light, alone or together, these two play and re-enact a war of feelings that has long been rehearsed and honed. The writer Arthur Dreyfus (“Sexual Diary of a Boy Today”) becomes a clever filmmaker and inspired scenographer. His art of editing and concealing highlights a fierce tango, lost between reality and fantasy. Brilliant. XL

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♥♥ Tilo Koto

French documentary by Sophie Bachelier and Valérie Malek (1h05).

The tragedy of emigration: Yancouba Badji, painter from Casamance, tries to reach Europe on several occasions. Crossing Libya is a nightmare: racketeering, torture, slavery, trafficking in human beings, corpses … This chronicle of inhumanity proves, once again, that the roads of exile are the hardest, that The urgency is to save lives and that zemmourization of spirits is a fatal disease. F. F.



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Entertainment

Luc Besson accused of rape: dismissal pronounced by the judge


An investigating judge from the Paris judicial court dismissed the filmmaker Luc Besson, accused of rape for three years by actress Sand Van Roy, we learned this Thursday, December 9 from sources close to the case.

The magistrate followed the requisitions of the Paris prosecutor’s office, which on October 8 demanded the abandonment of the proceedings in this highly media affair.

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10 things to know about Sand Van Roy, the actress who accuses Luc Besson

The complainant has long contested and point by point the procedure conducted by the French justice, considering it biased and her life “Destroyed”.

Complaint for forgery against the judge

“I regret having lodged a complaint, this country does not protect the victims of famous people”, said the Belgian-Dutch actress in a documentary broadcast in mid-November on France 2.

This Thursday, she announced on Twitter a “Complaint for forgery” targeting the magistrate.

In this case, Luc Besson, 62 years old, disputes the accusations against him. He was not indicted but only placed under the less incriminating status of witness assisted on January 25, after a long hearing.

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The fall of the empire by Luc Besson

The case started with the rape complaint filed on May 18, 2018 by the actress against the influential French producer and director after a meeting with him in a Parisian palace.

“Professional grip”

Two months later, she had denounced other rapes and sexual assaults, committed according to her during two years of a “Professional control relationship” with Luc Besson.

These complaints were dismissed in February 2019 by the Paris prosecutor’s office, who felt they could not “Characterize the offense denounced”.

Luc Besson fined 10,000 euros for the dismissal of his executive assistant

The actress, who appears in “Valérian and the City of a Thousand Planets” directed by Luc Besson, had then filed a complaint with constitution of civil party and obtained the opening of a judicial investigation in October 2019 for “Rapes”.

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Eight other women

After the denunciations of the actress, eight other women had testified to Mediapart of inappropriate gestures, even of sexual assault on the part of the director of ” Big Blue “, “Nikita” Where ” The fifth Element “. The facts were largely time-barred.

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“I have never physically or morally constrained a woman to anything”, had swept Luc Besson in 2019 in an interview with BFMTV.

“After a procedure that lasted three and a half years […] the examining magistrate has just dismissed her, which finally clears Luc Besson of the accusations from which he has been defending himself from the start ”, welcomed his lawyer, Thierry Marembert.



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Entertainment

« West Side Story », « les Amants sacrifiés »… Les films à voir (ou pas) cette semaine


♥♥♥♥ West Side Story

Drame musical américain par Steven Spielberg, avec Ansel Elgort, Rachel Zegler, Ariana deBose, Rita Moreno (2h36).

L’émotion nue, la virtuosité en plus. Littéralement magique, voici l’un des films les plus réussis de Spielberg, traversé par un allant, une conviction, un Gulf Stream d’amour. En reprenant l’œuvre de théâtre originale (1957), le cinéaste insuffle une nouvelle vie à cette adaptation de « Roméo et Juliette », lui donne une flamme incroyable. Il a gardé la musique, modernisé les ballets, renforcé l’arrière-plan social et politique et donné aux femmes (Rachel Zegler, Ariana deBose) les beaux rôles. Cette guerre qui oppose deux gangs – les Jets, d’origine polonaise, et les Sharks, portoricains – sur les ruines d’un quartier en pleine démolition renvoie clairement au racisme ambiant actuel, dans l’Amérique post-Trump. Message reçu, cinq sur cinq, monsieur Spielberg. Mais ce qui prime, c’est l’incroyable vague d’émotion qui déferle, dès que les numéros musicaux arrivent, avec des airs connus de tous : « Maria », « I Feel Pretty », « Somewhere », « America »…

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Steven Spielberg : « “West Side Story” est une œuvre qui ne m’a jamais quitté »

C’est que Spielberg et son scénariste, Tony Kushner, privilégient la love story, lui redonnent une dimension hautement tragique : ces amants que tout oppose, que tout sépare, qui se retrouvent sur les escaliers de fer d’une cité en décomposition sont tout simplement bouleversants. Et quand Rita Moreno, qui jouait Anita dans le film de 1961, devenue une magnifique vieille dame de 89 ans, chante « Somewhere (There’s a Place for Us) » dans la pénombre, comment ne pas avoir la gorge serrée ? Cette Portoricaine dont la vie a été marquée par l’intolérance, qui affirme, les yeux gonflés de larmes, que « quelque part il y a une place pour nous », est inoubliable.

Pour son trente-cinquième film, Spielberg filme le West Side, devenu un empire de gravats, comme une ville fantôme, source d’une violence omniprésente : amples mouvements de caméra, arrière-cours traversées de cordes à linge, rues craquelées par la vétusté. Le film de 1961, signé par Robert Wise et Jerome Robbins, titulaire de dix oscars, s’efface, et les héros de l’époque – George Chakiris, Russ Tamblyn, Natalie Wood (d’origines grecque, américaine et russe) – ont été remplacés par des latinos, donnant une authenticité, une tonalité différentes. Deux heures et trente-six minutes plus tard, on sort de là chaviré, les yeux étincelants, le cœur égaré dans les décombres du West Side, là-bas. Enthousiasmant. François Forestier

♥♥♥ Les Amants sacrifiés

Drame historique japonais par Kiyoshi Kurosawa, avec Yû Aoi, Issey Takahashi, Hyunri (1h55).

Bande annonce “les Amants sacrifiés”

Une tragique histoire d’amour et d’espionnage sur fond de guerre sino-japonaise. Une intrigue menée de main de maître par Kurosawa, réputé pour son goût pour le fantastique, qu’il délaisse avec cette fiction labyrinthique, faite de trahisons et de faux-semblants, à laquelle il insuffle sa touche personnelle, au lyrisme sec et sombre. Son hommage au septième art comme élément clé de la résolution de ce drame est une trouvaille réjouissante. Tout comme l’audace, très politiquement incorrecte, dont il fait preuve en dénonçant les exactions (toujours niées par le révisionnisme d’Etat de son pays) de l’armée japonaise envers les Chinois. Sans doute le meilleur film de son auteur. Xavier Leherpeur

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♥♥ Rose

Comédie dramatique française par Aurélie Saada, avec Françoise Fabian, Aure Atika, Grégory Montel (1h40).

Rose, 78 ans, enterre son mari tant aimé, sa boussole depuis plus de quarante ans. Soutenue dans son deuil par ses trois enfants, elle l’est moins quand elle se décide à vivre comme une femme célibataire. C’est un premier film qui vient du cœur. Aurélie Saada, moitié du groupe Brigitte, parle de ce qu’elle connaît : la famille juive séfarade, les dîners et rencontres de bistrot s’achevant dans une chaleureuse ivresse. Les scènes sentent le vécu à défaut d’être toutes abouties, mais quel beau portrait de femme et quelle Françoise Fabian ! L’actrice ne fait qu’une avec cette Rose à nouveau éclose. Nicolas Schaller

ÇA RESSORT

♥♥♥ Les Aventures d’Antoine Doinel

Cinq films par François Truffaut : « les Quatre Cents Coups » (1959), « Antoine et Colette » (1962), « Baisers volés » (1968), « Domicile conjugal » (1970), « l’Amour en fuite » (1979). Disponibles aussi en Blu-ray chez Carlotta.

L’expérience est unique d’un acteur jouant l’alter ego de fiction d’un cinéaste qu’on voit grandir sur vingt ans. Dès « les Quatre Cents Coups », il y a autant de Jean-Pierre Léaud que de François Truffaut en Antoine Doinel, personnage de son temps mais toujours à côté, dont la rêveuse maladresse parle à chaque génération. Selon son âge, on préférera celui de « Baisers volés », sa fascination d’éternel petit garçon pour les femmes, ou celui de « Domicile conjugal », jeune mari et père que l’embourgeoisement inquiète. « Antoine Doinel, Antoine Doinel… », se répète-t-il devant la glace. Antoine Doinel, c’est nous. N. S.

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♥♥♥ Une femme du monde

Drame français par Cécile Ducrocq, avec Laure Calamy, Nissim Renard, Béatrice Facquer (1h35).

Elle n’a que son corps à vendre. Prostituée, certes, mais combattante : il faut assurer l’avenir d’Adrien, le fils de 17 ans, qui veut devenir cuisinier. Entre son bout de trottoir et la maison close, la vie est une chienne pour Marie. Evitant tous les pièges du mélo façon feuilleton 1900, Cécile Ducrocq, dont c’est le premier long-métrage, brosse un portrait bouleversant d’une femme en désarroi, prête à tout pour donner une chance à son ado. Présente à chaque plan, Laure Calamy (« Antoinette dans les Cévennes ») donne au personnage une humanité rare. Dure et blessée, fracassée et mordante, elle est superbe. La fréquentation, sur les planches, de Corneille, de Brecht et de Genet a nourri son talent. Il est incontestable. F. F.

♥ Lingui. Les liens sacrés

Drame tchadien par Mahamat-Saleh Haroun, avec Achouackh Abakar, Rihane Khalil Alio, Youssouf Djaoro (1h27).

La lumière est belle, et l’intention, méritoire. Retracer le combat pour avorter d’une brillante lycéenne de 15 ans, élevée par sa mère célibataire à N’Djamena, n’étonne guère venant du réalisateur d’« Un homme qui crie », radiographe attentif de la société tchadienne. Patriarcat, poids du religieux, viol, excision sont passés au tamis d’une écriture et d’une mise en scène si naïves et scrupuleuses qu’elles se retournent contre le film. Maintenir hors champ la violence masculine, pour ne pas braquer le public concerné, et montrer celle à laquelle les femmes, acculées, finissent par avoir recours dessert le propos. N. S.

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♥♥ Any Day Now

Drame finlandais par Hamy Ramezan, avec Aran-Sina Keshvari, Shahab Hosseini, Shabnam Ghorbani (1h22).

Famille aimante exilée d’Iran en Finlande, les Mehdipour voient leur demande d’asile rejetée. Hamy Ramezan, qui a fui la guerre Iran-Irak et traité de la bureaucratie à laquelle sont confrontés les migrants dans un documentaire précédent, laisse planer une menace de plus en plus précise mais s’attache surtout à Ramin, 13 ans, premières amours, âneries de son âge et jeux d’enfants. Si les personnages secondaires manquent d’épaisseur, si la Finlande apparaît comme un éden, on se laisse embarquer par la dignité de ce clan espiègle, ses danses silencieuses (surtout ne pas faire de bruit), le jeu des acteurs et la force tranquille de ce drame paisible, donc d’autant plus terrible, sur le temps compté. Sophie Grassin

♥♥ Ham on Rye

Comédie dramatique américaine par Tyler Taormina, avec Haley Bodell, Audrey Boos, Gabriella Herrara (1h26).

Bande annonce “Ham on Rye”

Bizarroïde film : un teen movie traité comme s’il était tourné en 16 mm dans les années 1960. Lors d’une soirée dans un patelin très « Middle America » (on pense à David Lynch), les ados se rassemblent et espèrent un avenir moins fade que celui qu’on leur propose. Petites saynètes : un gamin panique, un autre semble s’endormir, deux filles bavardent, un type jette un cochonnet en plastique, la jeunesse s’évapore et l’âge adulte est terne. Quelque part entre Gus Van Sant et « Alice’s Restaurant », sans ligne dramatique claire mais avec une poésie lunaire étonnante, et ça fait un bien fou. F. F.

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♥♥ Un endroit comme un autre

Drame anglais par Umberto Pasolini, avec James Norton, Daniel Lamont, Eileen O’Higgins (1h36).

Sachant sa fin venir, un jeune père célibataire, accompagné de son fils de 3 ans, rencontre différentes familles auxquelles il pourrait confier sa progéniture. On craint le mélodrame et son robinet lacrymal. Mais le cinéaste italien épure, sans l’assécher, cette tragédie. Il s’autorise même quelques belles digressions sociales (le héros est laveur de vitres) et humoristiques. La mise en scène est d’une sobriété salutaire, relayée par la prestation impeccable de James Norton qui prend sous son aile le petit Daniel Lamont, dont le charisme naturel est ravageur. X. L.

À LIRE

♥♥♥ La Leçon de cinéma

Par François Truffaut, édition établie par Bernard Bastide. Denoël, 272 p., 28 euros.

Depuis 1981, cette série d’entretiens avec Truffaut gisait dans les archives de TF1. Les voici transcrits sur le papier, sur le modèle des conversations avec Hitchcock. Depuis « les Mistons » jusqu’à « la Femme d’à côté », Truffaut commente ses choix, se moque de ses erreurs, partage ses enthousiasmes. C’est une voix amicale, chaleureuse, cultivée qu’on redécouvre ici, et les nombreuses photos, souvent inédites, ressuscitent un homme qui, aujourd’hui, nous manque. F. F.

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♥♥ Où est Anne Frank !

Dessin animé israélien par Ari Folman (1h39).

Curieuse idée, de raconter Anne Frank, l’une des plus célèbres victimes de la barbarie nazie, en dessin animé. Ari Folman (« Danse avec Bachir ») suit une jeune fille nommée Kitty, amie imaginaire d’Anne Frank, qui interroge l’époque contemporaine : la crise des réfugiés n’est-elle pas la négation du souvenir ? Entre le passé et le présent, ce film, destiné aux enfants, fait des allers et retours parfois déconcertants. Mais la résurgence de l’antisémitisme et la montée des nationalismes donnent pertinence à cette quête. Anne Frank, plus que jamais, ne doit pas être oubliée. F. F.

♥♥♥ Au cœur du bois

Documentaire français par Claus Drexel (1h30).

Adossés à un arbre ou réfugiés dans une caravane, à la lumière du jour ou protégés par la nuit obscure, ils et elles se prostituent dans le bois de Boulogne. Certain(e) s sont là depuis longtemps. D’autres débutent dans le métier, jurant que c’est temporaire. Claus Drexel est allé à leur rencontre, les invitant à raconter leur vie face caméra. A sa manière. Sans pathos ni apitoiement. Sa caméra raconte des destins malmenés ou des choix de vie assumés sans honte. Un film frontal, qui estompe tout jugement et respecte superbement la parole recueillie. Comme dans son précédent et excellent « Au bord du monde », il ose rendre beau un monde interlope, sans le trahir ni le rendre pittoresque, le restituant, avec émotion et parfois humour, dans son authenticité. X. L.

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♥♥ Nudo Mixteco

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Drame mexicain par Angeles Cruz, avec Sonia Couoh, Noé Hernandez, Myriam Bravo (1h31).

C’est la fête à San Mateo, petit village mexicain. Trois femmes se forgent un destin, l’une revenue pour la cérémonie funèbre de sa mère, l’autre en faisant face à son ex-époux, la dernière en plongeant dans son propre passé. Premier film d’Angeles Cruz, comédienne, qui aborde de front le conflit entre la tradition et la modernité, entre le monde urbain et celui de la ruralité, entre les hommes et les femmes. En filigrane : la violence sexuelle, le poids du machisme, la quête de la fierté. Chaque histoire est émouvante, mais la troisième, celle de Tona qui essaie de protéger sa fille d’un viol, est la plus marquante. Film modeste, film fort, parfois mal maîtrisé, mais, d’évidence, film de conviction profonde. F. F.