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Albert Dupontel: “I would rather be against me than for me”



Albert Dupontel’s cinema has not changed, it is the world around that has worsened. Fourteen years ago, in “Locked Out”, a policeman threw himself into a river, leaving a note of apology: “Sorry, I can’t take it anymore. “ Today, in his latest film, two desperate people commit suicide in the face of a horde of cops by throwing around: “Goodbye idiots!” “ For a quarter of a century that he has staged himself in high-powered entertainment, the actor-director has imposed a tone, cartoony and squeaky and has forged a unique place in French cinema. That of a maverick, reluctant to the golds of the trade, who has been able to open his universe to an increasingly large audience without denying his rebellious spirit, angry at the established order and its absurdities. Voluble and uncompromising, this chronically dissatisfied welcomes us to his HQ, a large and disused mansion in the 17the Parisian district, listed as a historical monument – whose very advantageous rental conditions in 2017 were the subject of a wave of controversy – which serves as a production office, filming studio and editing room.

How did you come up with the idea of ​​orchestrating the meeting between a woman, Suze, condemned by illness, who seeks to meet her child born under X, a lonely geek who loses his job and misses his suicide, and a blind man who has cop phobia?

A bit like in “Neuf Mois ferme”, where I put in scene an austere, rigid and rigorous judge who is discovered in

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Joan Micklin Silver, the forgotten Hollywood



Discovering the films of Joan Micklin Silver is all the more pleasing as we did not even know his name before the Festival Lumière de Lyon, whose 12e edition has just ended, does not pay tribute to her as part of her Permanent History of Women Filmmakers. How could we have missed this director when she shot with actors that we love (Jeff Goldblum, Mark Ruffalo) and that she is part of a tradition of comedy of manners and Jewish humor which, from Woody Allen to Judd Apatow, is particularly popular with us? Even in “50 Years of American Cinema”, the reference dictionary of Bertrand Tavernier and Jean-Pierre Coursodon, his name is mentioned only briefly.

The journey of this daughter of Russian immigrants is symptomatic of the lack of consideration with which female directors were treated, even in the 1970s. In the United States, the era was in New Hollywood, this new golden age initiated by a generation of young prodigies, the Scorsese, Friedkin, Spielberg, Lucas, Coppola, whose relations of friendship and competition fostered artistic emulation. Among them, not a woman.

And if Barbara Loden made an impression on film buffs in 1970 with “Wanda”, we can regret that she did not continue on her momentum – that she was then married to Elia Kazan did not change anything in the affair – before die prematurely.

“I would have liked to be able to clone my spouse”

“Feature films are already very expensive to produce and distribute, and th

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The release of Alexandre Astier’s first film “Kaamelott” is postponed


Culture and curfew do not mix. Long awaited, the release of the film “Kaamelott – Premier Volet” directed by Alexandre Astier is again postponed. Originally scheduled for November 25, this film was to be the end-of-year locomotive for theaters after the salvo of postponements of American films.

“2020 will be extremely violent”: the morale of French cinemas weighed down by the postponement of large American productions

On Twitter, the French film distribution company SND announced the postponement of the film due to ” the health situation and new government measures ”. The release of the adaptation of the cult series of M6, initially scheduled for the end of July, had already been postponed for the first time in May.

“I’m going to stomp a little more”

“I am very sad to announce that ‘KV1’ will not be released on November 25”, commented the French director on his Facebook page. “I was eager to show it to you… I will stomp a little more.” “

To date, the postponement date has not been communicated but Alexandre Astier and SND say ” resolved to present this film to the public in cinemas ”.

In view of the evolution of the health situation and new government measures, the release of the film “Kaamelott – Premier Volet” directed by Alexandre Astier has been postponed.. Alexandre Astier and SND remain determined to present this film to the public, in the best conditions, in cinemas Can we read on the press release.Live entertainment, a great cultural victim of Covid-19



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Jonathan Nossiter: “We only experienced the aperitif of the terrible things that await us”



It’s a funny feature film, with unexpected actors – Nick Nolte first, that we haven’t seen on the screens since… we can’t even say when and who looks like a giggling Michel Simon. Charlotte Rampling then, used to cinematographic UFOs. Finally, Kalipha Touray, a young Gambian actor whom Jonathan Nossiter met in a refugee camp in Italy.

The author of the shocking documentary “Mondovino” in 2004 has now turned back into the Italian vineyard and delivers this fiction depicting an end of humanity that is not foolishly encouraging. Radically collapsing, his film hardly encourages people to roll up their sleeves. Or if? Interview.

Trailer for “Last Words”.

Your “Last Words” crisscrosses a Europe which can be summed up, roughly speaking, to smoking rubble deserted by men. Did you find it useful to stress us out these days?

I know that many see pessimism in my film, but it is the opposite of my approach. It is indeed a utopia, not a dystopia. What I am showing is how to recreate lived experience, human relationship in a space where everything has been destroyed. It’s not how things end that matters here [en l’occurrence mal, on le comprend dès le début du film, NDLR], but what was experienced before it happened. You know Hollywood movies expose you to extraordinary amounts of violence, but in the end everything always ends well. For an hour and a half, you suffered terror, but you leave the room with a happy end. Your trauma has been put to sleep. My film is the opposite: I hope that you will come out awake, with the desire to go and meet the other.

“Whether they like it or not, collapsologists discourage collective struggles”

In general, apocalypse movies portray the return of primitive instincts, murder and rape in humans on their own. But at home, the handful of survivors are mostly extinct, indifferent to others …

Yes, I wanted to show a society of people who have lost desire, which our civilization has alienated. Me, I live on a farm in Umbria in central Italy, but I lived part of my youth in Paris and it is a city that I have known very “tactile”. People were touching each other, jostling each other, kissing each other … But even before the Covid, I saw that this Mediterranean trait was disappearing a bit. People looked at each other less and less… We kinda lost the ability to be together, I think.

And where does it come from?

I think that because of the state of the planet and of our food, we are currently living something like the 1930s. It is not yet 1939, let’s say 1937. My winegrower friends tell me: “ Each year has become unpredictable. With global warming, everything we knew is obsolete. The plants are confused like us! They are precursors.

Should we believe in generalized collapse? The opinion of specialists

But do you really think you are encouraging political action with such a desperate film?

But yes, once again, it is imperative that citizens mobilize! As long as we do not know exactly where our planet is going, how it will end, we must continue to pull in the wrong direction. I want to transmit this utopian energy. Make no mistake: for the moment, we have only experienced the aperitif of the terrible things that await us.

Interview by Arnaud Gonzague



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“Goodbye idiots”, “Peninsula”, “Last Words”… The films to see (or not) this week


♥♥♥ Goodbye idiots

French comedy, by Albert Dupontel, with Virginie Efira, Albert Dupontel, Nicolas Marié (1h27).

“You know, just because we crack doesn’t mean we’re crazy. “ It would even be a pledge of mental health for Albert Dupontel, whose reply, taken from “Adieu les cons”, synthesizes the spirit so well. The director, actor and screenwriter does not change. Just now he has the means which allow him to put more forms and attract spectators that the punk madness of “Bernie” or “Locked out” frightened.

Her new story of broken arms that blows everything up orchestrates the meeting of Suze Trappet (Virginie Efira), a hairdresser intoxicated by the lacquers in her salon and condemned by illness, who seeks to know her 20-year-old son, born under X, JB (Dupontel), an asocial computer scientist who has just lost his job and missed his suicide, and Mr. Blin (Nicolas Marié), a blind archivist (!) and phobic of cops. Three left-behind who unite to escape their condition, three desperate cases but less desperate than the world as it is. Albert Dupontel: “I would rather be against me than for me”

Absurd bureaucracy, overwhelming technology, the blindness of some, the paranoia of others: Dupontel shoots red balls at the things that alienate us, dismisses the little bosses, torpedoing the uberization of souls with energy to spare, a talent for dialogue that ‘we rent too little, ideas for scenes by the dozen and actors possessed. Around Virginie Efira, irreproachable emotional vector of the film, let us quote the faithful and delicious playmates of Dupontel: Nicolas Marié, Philippe Uchan, Michel Vuillermoz, Bouli Lanners, Jackie Berroyer.

In his ambition, manifested for four films, to reach a larger audience, Dupontel indulges in a naive sentimentalism – his Jean-Pierre Jeunet penchant – counterbalanced by a darkness that laughter does not always attenuate. Thus, this abundant “Goodbye idiots” appears less held, more unstable than “Nine Months Farm”. A lesser evil so much the leg of Dupontel, this mixture of social satire and burlesque delirium, recognizable among all, avenges us for the lack of imagination from which French cinema too often suffers. He is the only one to make up nutty misunderstandings from the illegible handwriting of a doctor or this admirable sequence in which a blind person crosses his old neighborhood by car, pointing here to the grocery store, there the cinema, while a soulless row of modern banks and apartment buildings is reflected in the windshield. We will not forget this line of disturbing news either: “In town, coughing is normal, it means that you are still breathing. “

Nicolas schaller

♥♥ Peninsula

Korean horror film, by Yeon Sang-ho, with Gang Dong-won, Kim Do-yoon (2:02).

It’s an understatement to say that we were expecting the sequel to “Last Train to Busan”, the nasty and mischievous Korean zombie movie that enchanted us four years ago. Is it this prolonged wait that, by increasing our appetite, leaves us unsatisfied? Admittedly, the setting in scene is always effective, but the scenario disappoints. It’s an ersatz works by John Carpenter (“Invasion Los Angeles”), where a bunch of mercenaries travel to a brain-eating Seoul infested to grab a truck full of dollars. A pure action film where the filmmaker plays more security than daring. Remains an immersive video game, pleasant for the eyes, but which leaves our neurons very quiet.

Xavier Leherpeur

♥♥♥ Michelangelo

Italian-Russian historical drama, by Andreï Konchalovsky, with Alberto Testone, Jakob Diehl, Francesco Gaudiello (2h16).

The suffering and the grace of Michelangelo, in Italy of the XVIe century. Obsessed with the idea of ​​finding the purest marble for the tomb of Pope Julius II, Michelangelo sinks into a hell of doubt and rage. Andreï Konchalovsky, who was one of the most promising Russian directors (“the First Master”, 1965), and sometimes one of the most disappointing (“Gloss”, 2007), explores with fever the torments of the painter of the chapel Sistine. Konchalovsky is 83 years old today (Michelangelo died at 88) and obviously draws a parallel with his own artistic work, subjected to contradictory constraints over the years (USSR, Hollywood, Russia). Is passion, in the Christian sense, the condition of art? The film, austere and powerful, is carried by an ardent vision.

Francois Forestier

♥♥♥ City Hall

American documentary, by Frederick Wiseman (4:25).

Frederick Wiseman, 90, dives into the institutional machine of Boston (700,000 inhabitants), where the mayor, Martin J. Walsh, is the exact opposite of Trump. In a city riddled with a multitude of problems, Walsh has a deep understanding of her mission, the public good. From meeting to consultation, Wiseman’s camera follows, step by step, the confrontations with the citizens (the roads, the neighborhood, unemployment), without ever commenting. A student lives in unsanitary accommodation, a father explains the panic during the birth of his wife… Touching moments, which Wiseman films with sympathy and distance to let the spectator judge. It’s long, but taking.

FF

IT MISSED

Last Words

Italian-French-American science fiction drama, by Jonathan Nossiter, with Nick Nolte, Kalipha Touray, Charlotte Rampling (2:06).

In 2085, the Earth is nothing more than ruins after the ecological disaster. A young African (played by a true migrant) and an old filmmaker named Shakespeare (Nick Nolte) strand in Athens, where a last bastion of survivors tries to cultivate the barren land. By showing them films from the world before and immortalizing them with a makeshift camera, the two men give hope to the community. One day, perhaps, we will bite our fingers for not having recommended this film, taken from a novel by Santiago Amigorena, in which Jonathan Nossiter warns us of a dire future. Hostile nature, dry soils, deadly virus: everything prophesied by the director of “Mondovino”, who has been converted into permaculture in Italy, seems as supported as his fable is pontificate, unsightly and endless. The state of the planet has its reasons that artistic taste ignores.

N. S.

Poly

French adventure film, by Nicolas Vanier, with Julie Gayet, François Cluzet, Patrick Timsit (1h42).

A little girl, Cécile, arrives in the Cévennes with her mother. Uprooted, she falls in love with a pony mistreated in a circus, and decides to run away with him … In 1961, the TV soap opera was a success, of course, but, more than half a century later, the stories by Cécile Aubry (“Belle et Sébastien”) are they not terribly dilapidated? Nicolas Vanier does not shy away from good feelings, even nunuchery. If you are going to see this film, bring your child’s soul, an obligatory accessory.

FF

♥♥♥ Little Vampire

French animated film, by Joann Sfar, with the voices of Camille Cottin, Jean-Paul Rouve, Alex Lutz (1h25).

Being 10 years old for three hundred years and living in seclusion with a bunch of the living dead doesn’t help making friends. Little Vampire knows something about it, so he escapes at night, despite the threat of the Gibbou, and makes friends with Michel, a human his own age, Jewish and orphan, who lives with his grandparents. After the comics, the TV series and the board game, here is the film. A success: we find intact the universe of Joann Sfar, who has made the Gothic bestiary his own by rooting it in a castle in his native Nice bay. It talks about death while laughing, the dialogues gallop to the rhythm of a screwball comedy, and the economy of the line responds to the shimmering of the decorations and the picturesque creatures. Special mention to Fantomate, the flying bulldog with a Marseille accent, and to Marguerite, the filthy mini-Frankenstein.

NS

♥♥ The Whale and the Snail

British cartoon, by Max Lang and Daniel Snaddon, with the voices of Colette Sodoye, Maia Baran (40 min).

After having delighted us with “Zébulon, le dragon” (2019) and “le Gruffalo” (2011), the two filmmakers take us on the back of a giant whale, where a tiny snail, dreaming only of adventures and ‘wild horizons, has settled. Starting point of an initiatory and aquatic story full of poetry and ecology. The irony and the second degree of the previous films are put away in favor of a pretty fable about the refusal of determinism, ideally intended for the youngest. The animation, virtuoso and inventive, still seduces as much.

XL

♥♥ The sacred fire

French documentary, by Eric Guéret (1h33).

The filmmaker looks back on the year during which the staff of the Ascoval steelworks, in Saint-Saulve (North), fought to prevent its closure. The first quarter of an hour, a succession of testimonies facing the camera like “France 3 Regions”, worries a little. But, very quickly, the story wins, that of a proletarian tragedy and a social drama rich in drama. Even if the outcome of this story is known, the suspense is there. The dramaturgical staging pays homage to the labor of these men and women, draws strong and sharp characters. An emotionally powerful film.

XL

IT SPEAKS

The Sixth Sense

American thriller, by Michael Mann, with William Petersen, Kim Greist, Brian Cox (1986, 2h00).

The first adaptation of Thomas Harris’ novel “Red Dragon” and the appearance of Hannibal Lecter, a genius criminal. Michael Mann, director fascinated by the graphics of images and secret violence, signs here a film on the edge of the fantastic and the thriller, with an investigator character who has flashes of understanding which he pays the price, each time. William Petersen, in this role, is formidable: he brings a vibrant fragility. Of the entire Lecter film series (five opuses, including “The Silence of the Lambs”), it is the best, the most beautiful, the most stylized.

FF



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Tintin back to the cinema? Patrice Leconte wants to adapt “Les Bijoux de la Castafiore”


Nine years after Steven Spielberg’s “The Adventures of Tintin: The Secret of The Unicorn” and while his sequel is long overdue, the most famous comic book hero with a powder puff could make his return to the cinema. The director Patrice Leconte (“Les Bronzés”), passionate about comics, announced Saturday, October 10 to “Nice Matin” that he had been entrusted with the adaptation of Hergé’s cult album “Les Bijoux de la Castafiore ”on the big screen.

“A young producer is dealing with the United States the rights of Castafiore jewelry. He gave me the project and I think it’s great! Paramount France is stuck to the ceiling of happiness ”, tells the director to the regional daily.

“The project is, among other things, to imagine that the smallest role is played by someone famous. We have our Castafiore and Haddock. “9 excellent comics to start back to school on the right foot

“It’s a bit stuck for rights issues”

If the choice of the casting seems already to advance, the project is however far from being completed: as the director confides, ” Americans “, who own the rights to the adventures of Tintin, are difficult to convince: “It’s a bit stuck for a rights story with Paramount and all that, but it will unlock”, he promises to “Nice Matin”.

With the “Figaro”, however, he specifies: “I can’t tell you much more, because the negotiations are at a standstill at the moment. And not with the heirs but with the Americans who own the rights.

If the adventures of Tintin have three adaptations in the form of animated feature films, they have only been adapted twice with actors in the flesh, in 1961 with “the Mystery of the Golden Fleece », And in 1964 with« Tintin and the Blue Oranges ». Last January, the sequel to “The Adventures of Tintin: The Secret of The Unicorn” was confirmed, and should be signed by Peter Jackson (“The Lord of the Rings”) and Steven Spielberg. Like the first part, it will be filmed in 3D motion capture.



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« Drunk », « Princesse Europe », « A Dark, Dark Man »… Les films à voir (ou pas) cette semaine


♥♥♥ Drunk

Comédie dramatique danoise, par Thomas Vinterberg, avec Mads Mikkelsen, Thomas Bo Larsen, Lars Ranthe (1h55).

Bande annonce “Drunk”

L’injonction infantilisante faite à toute personne parlant d’alcool dans les médias de tempérer ses propos en précisant que son abus est dangereux pour la santé vous insupporte ? Le politiquement correct, qui transforme chaque noble intention en lissage de la pensée, vous épuise ? Ce film va vous faire du bien. Quatre Danois, profs de lycée, se lancent comme défi de tester la théorie de Finn Skarderud, un psychologue norvégien d’après lequel il nous manque 0,5 g d’alcool par litre de sang pour mieux vivre. En quête du taux d’alcoolémie idéal pour optimiser leurs relations professionnelles et intimes, les quatre amis quadra et quinquagénaires vont allégrement passer du verre discret qui aide à la socialisation à la cuite qui vous laisse minable et alerte votre entourage.

Nulle tentation moralisatrice derrière tout cela – même si le pochtron du groupe se voit réserver un destin funeste parce qu’en effet, l’abus d’alcool est dangereux pour la santé –, mais le portrait d’hommes qui se cherchent. D’un en particulier : Martin, devenu un étranger pour son épouse et ses deux fils ados, et que la jeunesse de ses élèves renvoie à la sienne, de plus en plus lointaine. Martin est interprété par Mads Mikkelsen, le Viking à l’élégance de danseur étoile, admirable par sa capacité à être là sans y être et à insuffler la plus profonde des mélancolies à son personnage de bobo asthénique qui pense, comme Winston Churchill, pouvoir tirer plus de choses de l’alcool que l’alcool ne lui en retire. Il est le centre de gravité du film et de sa mise en scène bringuebalante, instinctive, en caméra portée.

Plus proche de « Husbands », de Cassavetes, pour son exploration teintée d’humour et d’amertume de la middle life crisis masculine, que d’une version liquide de « la Grande Bouffe », dont il ne partage en rien la fibre contestataire, « Drunk » traite moins de la boisson que de notre inaptitude au bonheur. Sa réussite surprend d’autant plus que l’on n’attendait plus grand-chose de Thomas Vinterberg, qui a si souvent déçu depuis le coup d’éclat de « Festen », il y a vingt-deux ans. Comment reprendre goût à la vie ? se demande-t-il dans ce film qui, par-delà les gros traits de son scénario, est habité par une détresse et par une soif d’exister auxquelles le drame vécu par le réalisateur l’an dernier (il a perdu sa fille de 19 ans dans un accident de voiture) ne doit pas être étranger.

Nicolas Schaller

♥♥♥ Princesse Europe

Documentaire français, par Camille Lotteau (1h50).

Bande annonce “Princesse Europe”

Ce film est une petite bombe. Engagé par Bernard- Henri Lévy pour le suivre à travers l’Europe durant la tournée de son seul en scène en pleine campagne des dernières européennes, le réalisateur Camille Lotteau en a tiré ce carnet de voyage drôle et iconoclaste, digne d’un néo-Godard punk. Non content de filmer le philosophe à chemise ouverte, sa course quotidienne de machine médiatique et ses entrevues avec les dirigeants de tous bords (de Viktor Orbán à Volodymyr Zelensky), il a aussi rencontré des artistes, des militants, des gens de la rue, échangé par SMS avec une « pote gilet jaune » et modelé tout cela selon ses pensées. Du périple de BHL reste l’image d’une élite qui s’écoute parler et n’entend pas grand-chose dans ces « Lettres persanes » modernes sur le bordel sans nom que devient l’Europe.

N. S.

♥♥♥ A Dark, Dark Man

Drame kazakh, par Adikhlan Yerzhanov, avec Daniar Alshinov, Dinara Baktybaeva (1h50).

Prenez patience. Tout, dans ce film, est cotonneux, insaisissable. Nous sommes au bout du monde, dans un Kazakhstan de poussière, de solitude et de corruption. La première scène est démente : un policier se penche sur le cadavre d’un petit garçon, agrippe l’idiot du village, lui demande de se masturber pour truquer la scène de crime. Mais l’arrivée d’une journaliste, aidée par un jeune flic inexpérimenté, va changer la donne… Images des steppes, des bâtiments abandonnés, des visages durcis, le film adopte un rythme doux (comme dans le film précédent de Yerzhanov, « la Tendre Indifférence du monde »). C’est de la Série noire new wave, avec de bonnes vibrations.

François Forestier

♥♥ Babylon

Docudrama britannique, par Franco Rosso, avec Brinsley Forde, Karl Howman, Trevor Laird (1980, 1h35).

Bande annonce “Babylon”

En 1980, Blue (Brinsley Forde), musicien de reggae, survit dans un Londres cassé par le thatchérisme, dans des bas-fonds où règnent la misère et la violence (sans oublier le racisme). Tourné il y a quarante ans, cet étrange polar n’a jamais vu le jour, sinon dans des festivals ou des salles associatives, et a pris, entre-temps, valeur de témoignage politique. C’est filmé à l’arrache, sans moyens, mais avec une pêche d’enfer. Aujourd’hui, le film prend une force inattendue, dans l’ombre d’un Brexit anti-immigrés.

F. F.

C’est raté

Trente jours max

Comédie française, par Tarek Boudali, avec Tarek Boudali, Philippe Lacheau, Julien Arruti (1h27).

C’est raté : Bande annonce “30 jours max”

Le grand Tarek Boudali (1,89 mètre) de la Bande à Fifi signe sa deuxième comédie en solo après « Epouse-moi mon pote » (2,5 millions d’entrées). Il y joue un policier nul mais gentil qui apprend qu’il ne lui reste que trente jours à vivre. Comédie familiale oblige, on apprendra que son médecin a fait une erreur, mais l’important est ailleurs. Car, rappelé à sa condition de mortel, le benêt se sent pousser des ailes : il part à Las Vegas faire la teuf avec des bimbos, démasque l’homosexualité honteuse du superflic du commissariat et, grâce à son nouveau look de beau gosse, gagne les faveurs de sa collègue tant convoitée. Il y a aussi Marie-Anne Chazel qui parle de sa chatte et José Garcia qui atterrit dans l’entrejambe de Chantal Ladesou. Le tout est emballé selon les canons artistiques de NRJ12, où ce nouveau fleuron du comique français ne manquera pas d’être multidiffusé.

N. S.

♥♥♥ La Première Marche

Documentaire français, par Hakim Atoui et Baptiste Etchegaray (1h04).

Bande annonce “la Première Marche”

En juin 2019, dans une chaleur communicative, une poignée de jeunes décident d’organiser la Marche des Fiertés, pour mettre en évidence le combat politique et faire tomber les cloisonnements qui enferment les homosexuel(le)s. Tout se passe à Saint-Denis, lieu symbolique des « classes dangereuses » dans l’imaginaire social. Or ce défilé se passe dans une bonne humeur qu’ont su capter les deux réalisateurs. C’est une lutte gaie (sans jeu de mots), forte, juste, avec des personnages dont la conviction est évidente. On la partage, avec enthousiasme. Allez, les fiers !

F. F.

♥♥♥ Una Promessa

Drame italien, par Gianluca et Massimiliano De Serio, avec Salvatore Esposito, Samuele Carrino, Lica Lanera (1h44).

Bande annonce “Una Promessa”

Un père et son fils, dans le monde barbare des journaliers italiens. Giuseppe (Salvatore Esposito), sa femme probablement morte dans un job d’esclave, erre à la recherche de la vérité, dans cette Italie des Pouilles régie par la misère, la peur, la violence. S’inspirant d’événements authentiques, les frères De Serio (« les Mémoires du fleuve ») filment avec le cœur : chaque image, minutieusement composée, est un appel à la dignité, et une dénonciation de la terrible condition des oubliés. Le film se termine sur une élévation absolument bouleversante, dans une nuit fiévreuse. Ce Magnificat final donne au film une dimension de grande œuvre.

F. F.

Les Trolls 2, tournée mondiale

Dessin animé américain, par Walt Dohrn, avec les voix de Vitaa, Matt Pokora (1h34).

Bande annonce “les Trolls 2. Tournée mondiale”

Rien ne va plus au royaume de la musique, où la reine du hard rock a juré la perte de tous les autres genres pour régner en autocrate sur la country ou la pop d’ascenseur. Le scénario est pauvre, et le dessin, criard. Les couleurs, issues du pire cauchemar sous psychotropes, vous aveuglent pour de nombreuses heures. En plus, impossible de se réfugier dans le sommeil tant la bande-son aligne ses tubes internationaux et déchaîne ses décibels. C’est laid, interminable, et pourtant ce dessin animé a été un énorme succès en téléchargement aux Etats-Unis durant le confinement. Nos pensées vont aux parents qui eurent à subir ce supplice.

Xavier Leherpeur

♥♥♥ La Chouette en toque

Dessin animé franco-belge, par Célia Tocco, Célia Tisserant, Pascale Hecquet et Frits Standaert (52 min).

Bande annonce “la Chouette en toque”

Au menu de ces courts-métrages animés, de succulentes histoires où il est question de gourmandise. De la grenouille à grande bouche au prince glouton qui apprendra à préférer une alimentation variée et équilibrée, tous les personnages de ces contes moraux mais jamais moralisateurs nous enseignent les vertus du collectif, en passant par les cases du second degré et de la cocasserie débridée. Dessin minimaliste, animation traditionnelle ou 3D, papiers découpés… Le choix des techniques et la virtuosité de leur emploi font saliver. Prévoir un goûter pour la sortie car tout cela donne faim.

X. L.

♥♥♥ Calamity, une enfance de Martha Jane Cannary

Film d’animation français, par Rémi Chayé, avec les voix de Salomé Boulven, Alexandra Lamy (1h24).

Bande annonce “Calamity, une enfance de Martha Jane Cannary”

De la petite enfance de Calamity Jane, Rémi Chayé tire une fiction initiatique où la future cow-girl mène l’enquête pour découvrir qui a dévalisé le convoi dont sa famille fait partie. Un récit qui la voit s’affranchir des carcans et gagner en liberté. L’auteur de « Toutenhautdumonde » déploie une mise en scène à la fois intime et lyrique, portée par une animation épurée autant que foisonnante. La ligne claire du dessin est étoffée par un travail remarquable sur le décor, dont les couleurs évoquent et recréent le Far West avec une poésie surréaliste. Du grand art.

X. L.

♥♥♥ Paris Calligrammes

Documentaire allemand, par Ulrike Ottinger (2h10).

Bande annonce “Paris Calligrammes” (VF)

Ulrike Ottinger, plasticienne et cinéaste allemande, retrace son itinéraire depuis son arrivée en France, en 1962. La magie de ce documentaire (voix off de Fanny Ardant), c’est l’utilisation des archives filmées : voici le Paris d’alors, autour de la librairie Calligrammes, rue du Dragon. Passent Max Ernst, Tristan Tzara, Marcel Marceau, Albert Camus… Voilà Mai-68, avec ses pavés, ses élans révolutionnaires.

Bistrots où les théoriciens de l’Art discutent à perte de vue, flâneries dans les rues du quartier Latin… Ulrike Ottinger rassemble des souvenirs charmants, des instants de colère (la guerre d’Algérie, le Vietnam), évoque des personnages incroyables (Johnny Friedlaender, graveur ; Henri Langlois, conservateur de films ; Claude Lévi-Strauss, ethnologue) et nous livre un portrait de la ville, en suivant le fil de sa carrière artistique. C’est tout un pan de la vie de Paris, merveilleusement monté, qui nous est ainsi livré. Plaisir de la nostalgie…

F. F.

E-cinéma

♥♥ Les Sept de Chicago

Drame historique, par Aaron Sorkin, avec Sacha Baron Cohen, Eddie Redmayne, Joseph Gordon-Levitt (2h09). Sur Netflix, à partir du 16 octobre.

Bande annonce “les Sept de Chicago”

La reconstitution du procès des sept meneurs des manifestations géantes contre la guerre du Vietnam, qui se déroulèrent à Chicago en 1968, l’année de la contre-culture et des révoltes étudiantes. Aaron Sorkin, s’inspirant des minutes de l’action juridique, montre les accusés (dont Abbie Hoffman, Jerry Rubin, Tom Hayden et Bobby Seale) face à un juge haineux et incompétent. Tout est politique, tout est biaisé, tout est inique.

Sur ce sujet, il y a eu plusieurs films (« Medium Cool », en 1969, notamment), mais, dans l’Amérique d’aujourd’hui, le combat des révoltés prend une signification différente, et une certaine urgence. Les acteurs (dont Sacha Baron Cohen et Frank Langella) le sentent bien, et ne font pas dans la dentelle : pas question de se brider. Et c’est ce qui donne au film une flamme que le scénario (conforme aux évènements) et la réalisation (sage) n’avaient pas au départ. A voir, ne serait-ce que pour se souvenir que dans les sixties, on avait de l’espoir.

F. F

Ça ressort

♥♥♥ Assaut

Thriller d’action américain, par John Carpenter, avec Austin Stoker, Darwin Joston, Laurie Zimmer (1976, 1h30).

ça ressort : Bande annonce “Assaut”

Dans un commissariat désaffecté de Los Angeles, sans téléphone ni électricité, gardiens de l’ordre et hors-la-loi s’unissent pour faire face à l’assaut d’un gang surarmé. Deuxième long-métrage de John Carpenter, ce western urbain, inspiré par « Rio Bravo », de Howard Hawks, et tourné pour des clopinettes, constitue la matrice de son œuvre à venir (« The Thing », « Christine »). Tout y est déjà, ou presque : la collectivité qui se ligue contre un mal surgi de nulle part, la menace quasi abstraite qui prend une tournure métaphysique et la clarté souveraine d’une mise en scène qui ajoute au classicisme hawksien une gestion magistrale de l’espace et la vigueur anar du meilleur cinéma de genre. Un pur et indémodable plaisir de cinoche.

N. S.



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Entertainment

Le choix de Gal Gadot pour incarner Cléopâtre sous le feu de vives critiques


Le choix fait polémique. Après avoir interprété Wonder Woman, l’actrice israélienne Gal Gadot incarnera prochainement Cléopâtre. Sous le feu de vives critiques depuis sa nomination, plusieurs internautes dénoncent un « white-washing », estimant que l’actrice n’est pas représentative de Cléopâtre, la majorité des Egyptiens de l’époque étant noirs.

Au-delà, il semblerait que ce soit ses prises de positions publiques en faveur de l’armée israélienne dans les événements survenus sur la bande de Gaza qui placent l’actrice au cœur d’une seconde polémique.

Première polémique en 2014

L’actrice était déjà à l’origine d’une polémique lors de la sortie du film Wonder Woman. Promue en super-héroïne de l’univers Disney Comic, l’actrice avait publié un statut Facebook affichant sa position politique au moment de la « troisième guerre à Gaza », où le nombre de civils palestiniens tués atteignait un niveau sans précédent depuis la guerre des Six jours de juin 1967.

« J’envoie mon amour et mes prières à mes citoyens israéliens. Particulièrement à tous les garçons et les filles qui risquent leurs vies pour protéger mon pays contre les actes terrifiants du Hamas, qui se cachent comme des lâches derrière des femmes et des enfants… Nous surmonterons tout ça ! Shabbat Shalom ! » avait-elle écrit rajoutant #weareright (« nous avons raison ») #freegazafromhamas (« libérez Gaza du Hamas ») et #Loveidf (« j’aime IDF »).

Sa nomination avait été fortement contestée dans plusieurs pays arabes, jusqu’à une censure du film au Liban. Certains fans de comics lui reprochaient également ses deux ans de service militaire entre ses 18 et 20 ans au sein des forces armées israéliennes ainsi que ses prises de position anti-Hamas en 2014.

Son incarnation en Cléopâtre ravive les critiques

Son incarnation en Cléopâtre crée donc à nouveau la polémique et ravive les critiques. Plusieurs internautes affirment que le choix de l’actrice est « juste un autre accident dans l’histoire du white washing et de l’héritage colonial ».

« N’oublions pas que Gal Gadot a exprimé à plusieurs reprises son soutien à Tsahal qui a le sang de milliers de Palestiniens innocents sur les mains » a exprimé l’un des internautes à l’origine du hashtag #RecognisePalestineNow.

« Torrent de messages haineux »

D’autres internautes ont au contraire affiché leur soutien à l’actrice en affirmant que « Cléopâtre VII était macédonienne de culture grecque et non arabe » avant d’ajouter que « les rôles ne devraient de toute façon pas dépendre du pays sur le passeport ».

De leur côté, l’Union des Etudiants Juifs de France a déploré « un torrent de messages haineux simplement parce que (l’actrice) est juive et israélienne ».



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Entertainment

Oliver Stone: “Trump is the No. 1 star on the planet”



His life is a novel that he retraces in masterful prose. With his autobiography “In Search of the Light”, Oliver Stone signs perhaps his most successful work: the bumped up journey of a battered patriot, the success story chaotic of an American who rubbed shoulders with hell when he believed he was in paradise, the self-portrait of a tortured man, full of paradoxes, mirrors of the hopes and madness of a country he never ceased to question in his films.

Stone avoids nothing and puts everything into perspective: his happy childhood in post-war America, the shock of his parents’ divorce and the assassination of John Fitzgerald Kennedy, his engagement as a simple troufion in Vietnam at the time. that studies at Yale were offered to him, the unspeakable (and so well related) experience of the war, the painful return to real life, his detour through prison for having passed a little grass on the Mexican border , his 1970s as a galley in a country on the verge of implosion, drugs, easy sex and illusory loves, the discovery of his sterility, his recognition as a screenwriter (“Midnight Express”, “Scarface”, “the Year of the dragon ”), the circus of the show bizz, the work with Alan Parker, Brian de Palma and Michael Cimino, the abortive collaborations with Al Pacino, Jane Fonda or William Friedkin and his success, finally, as a director with“ Salvador ”and “Platoon”, nominated for the Oscars the same year.

The book ends after “Platoon” and its four Oscars (including better

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“Thomas Sankara, it was a bit of a god for us”



When Madeleine Traore, 49, evokes October 15, 1987, the day of the assassination of Thomas Sankara, the president of Burkina Faso, its president, her voice still trembles. “I don’t know if we can use the word shock. There are no words, actually. It’s like we’ve had our hearts ripped out. Sankara, it was our father, our mother, it is as if we had taken all that away. As if we were nowhere. I was in denial, I told myself that his death was impossible, that he was immortal. Because he was a bit of a god to us. “

Thomas Sankara, the rebirth of an African icon

Madeleine was then 16 years old. It had been a year since she had been sent to Cuba to study, like 600 other poor orphans in Burkina Faso. A utopian project of Sankara whose objective was to train those who would contribute tomorrow to building the nation, this former Republic of Upper Volta that he had so beautifully renamed Burkina Faso, “the country of upright men”. “Sankara was the only one who was interested in us, the poor. The only one who really wanted to eradicate corruption. “

A hidden story

Arriving in Cuba in October 1986, where she would study for almost eight years, Madeleine still remembers the visit of the charismatic President Sankara, to Cuba, who came to see ” his “ orphans in November 1986, with Fidel Castro:

“We couldn’t believe he came to see us! He told us, “I’m counting on you.” We were so proud. That day I am

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