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Everything was enigmatic about Michael Lonsdale


With Michael Lonsdale, who died at 89, it is not only an actor who disappears but a singular personality. Son of a British army officer and a Franco-Irish mother, he spoke only English until his family moved to Morocco in 1939. Hence the almost imperceptible vestige of British accent that has never left him.

Michael Lonsdale, Eternal Actor

In Paris, after the war, he made a decisive meeting, that of the actor and director Roger Blin, thanks to whom he discovered the theater. He could have fallen worse. He enrolled in the drama course of Tania Balachova, a nursery from which emerged actors as diverse as Darry Cowl, Robert Hossein, Laurent Terzieff, Jean-Louis Trintignant, Antoine Vitez, Pierre Arditi, Niels Arestrup. Among other things … Then began Lonsdale’s long and prestigious career in theater and cinema.

In addition to his talent, he is served by an unusual physique, tall stature, face soon puffy and wrinkled like a Shar Pei, calm and monotonous flow, as flat as the physiognomy, but a suave and well timbre voice. The sweetness of Frankenstein’s monster before the fit of fury. Nothing more disturbing than this man who was nevertheless benignity itself and who, since his conversion to Catholicism, the year of his twenty-two years, has remained ardently faithful to his faith. Death of Michael Lonsdale, the actor who loved go where did not expect

Became famous thanks to Truffaut (“The Bride Was in Black”, “Stolen Kisses”), except for a picturesque role of villain in a “James Bond”, Michael Lonsdale has made most of his career with directors of before. keep. But it is Xavier Beauvois who, by entrusting him ten years ago with the role of Brother Luc in “Des hommes et des dieux”, in which the massacre of the monks of Tibhirine is mentioned, will bring him the consecration – and incidentally the Caesar of the best. supporting male role.

In the theater, too, Michael Lonsdale quickly became part of an artistic “family” that ranged from Jean-Marie Serreau to Claude Régy, the director with whom he most often and for a long time worked.

When Michael Lonsdale told us about his beginnings, Beckett and Duras

His private life has always remained a mystery. To wonder if he had one. He lived all his life, in his grandfather’s apartment, behind the Invalides, which he shared for a long time with the woman of his life, his mother. He claimed to have once fallen in love with Delphine Seyrig and, not having been paid back, to have ” never could love someone else “.

Everything was enigmatic about him. Even his first name. You never knew how to spell it. His parents had named him Michael, but Raymond Rouleau, his first theater director, having trouble getting used to it, had made him French. Either way, both Michel and Michael were irreplaceable.



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“Les Appearances”, “Ondine”, “Lux Æterna”… Films to see (or not) this week


♥♥♥ Appearances

Franco-Belgian thriller, by Marc Fitoussi, with Karin Viard, Benjamin Biolay, Lucas Englander, Laetitia Dosch (1h50).

We must be wary of teachers, key pieces of this cinematographic re-entry! After “Antoinette in the Cévennes”, that of “Appearances” also sleeps with the father of one of her students. But it is the wife that the film is interested in. Her name is Evelyne (Karin Viard) and has renamed herself Eve since, with her son and her husband, conductor (Benjamin Biolay), she moved to Vienna. When she discovers that the latter is cheating on her, Eve collects, takes revenge and gets trapped in an imbroglio that one would describe as Chabrolian if Marc Fitoussi did not eye the side of Woody Allen, that of “Match Point”.

Karin Viard: “I love monstrosity”

Author of elegant but unequal comedies (“Copacabana”, “la Ritournelle”), lover of actresses and heroines who make films for themselves, Fitoussi plunges his amused gaze on contemporary quirks in the waters of thriller and signs an implacable vaudeville. Both a caustic painting of the small world of French expatriates in the city of Mozart chocolates and a portrait of a woman who lies to herself, in love with a husband who no longer looks at her and blinded by his upstart privileges. It’s full of mischief, interspersed with discreet nods to Hitchcock and De Palma, and worn by a neo-bourgeois sovereign Karin Viard whose veneer of respectability cracks as she seeks to save face.

Nicolas schaller

♥♥♥ Misty

German drama, by Christian Petzold, with Paula Beer, Franz Rogowski, Maryam Zaree (1h30).

“Ondine” trailer

In “Ondine”, Giraudoux’s play, the chamberlain maintains that “The great advantage of theater over life is that it does not smell rancid”. This also applies to Christian Petzold’s film, which has the good taste to lighten the old Germanic mythology and update this aquatic tale, where a mermaid falls in love with a man unworthy of the absolute love he has for her. inspired. Here, Ondine (crystalline Paula Beer, the young widow of “Frantz”) is a historian and lecturer in Berlin. She promises to kill Johannes (Jacob Matschenz), the man she loved and who betrayed her, after which she will forever dive into the clear water of her natural kingdom. Thanks to Ingeborg Bachmann’s short story, Christian Petzold offers Ondine another and temporary love, he revisits the legend without rushing it, he washes it of its multiple adaptations and interpretations, he purifies it.

Jerome Garcin

♥♥♥ Lux Æterna

French satire, by Gaspar Noé, with Béatrice Dalle, Charlotte Gainsbourg, Félix Maritaud (50 min).

“Lux Æterna” trailer

Béatrice Dalle welcomes Charlotte Gainsbourg to play a witch sent to the stake in the first film she is directing. A documentary ? No, a satire of the cinema, born from a carte blanche offered to Gaspar Noé by the Saint Laurent house and filmed in two days. The wonderful first quarter of an hour, an improvised dialogue between the two actresses, says a lot about their relationship to the profession, even though we cannot disentangle the false from the true. There follows an oppressive dive, punctuated by quotes from Dreyer, Godard or Fassbinder, into the maze of filming: Dalle is unmanageable, the director of photography is grudging, the producer (a crummy) scheming, the costume designer (a transgender) meditates on the whole story. ‘team. Beauty will emerge from this chaos, blinding under the effect of strobes. We are well with the director of “Irréversible”, to whom the self-deprecation and the short format succeed rather well.
NS

It missed

Eleanor

French dramatic comedy, by Amro Hamzawi, with Nora Hamzawi, André Marcon, Dominique Reymond (1h25).

“Eléonore” trailer

Unemployed, temperamental, broke, Eléonore finds a job in a publishing house specializing in erotic books. In search of freedom and security, she agitates, searches for herself, bumps into reality. Between lovers of passage and the imperatives of the job, life is not easy, even if, sometimes, it is funny… First film of Amro Hamzawi (played by his sister Nora), the whole gives the impression of a draft, shot with the means at hand. We sympathize, but we hardly hang on.

Francois Forestier

♥♥♥ Stripped

Israeli drama, by Yaron Shani, with Eran Naim, Laliv Sivan, Stav Almagor (1h59).

“Stripped” concludes and completes the two previous parts, “Chained” and “Beloved”. A young woman (Laliv Sivan), following a rape, is recluse in her home. In the apartment opposite lives a young introverted teenager and musician who is about to leave for the army. In a suffocating construction – the origin of the discomfort will not be explained before the end of the film – the filmmaker stages his recurring themes: the condition of women, militarized indoctrination, abusive virility and violent fractures of the Israeli company. “Stripped” confirms the advent of a big name in Israeli cinema.

Xavier Leherpeur

♥♥ Blackbird

American drama, by Roger Michell, with Susan Sarandon, Kate Winslet, Mia Wasikowska (1h38).

“Blackbird” trailer

She’s going to die, mamma. As in the song of Aznavour, Lily lives her last moments. Suffering from a degenerative disease, she decided to end her life. Husband, close friend and children are around her. The director’s new drama “Love at first sight in Notting Hill” deals, without hypocritical decency, with the end of life with dignity and assistance. A taboo subject in a religious and moralizing America. Admittedly, this drama behind closed doors ticks all the boxes of this kind of fiction: the hour of farewell is disrupted by the ultimate settling of scores and acrimonies left in suspense. If psychology is sometimes supported, the game of Susan Sarandon, around which revolves an irreproachable cast, is perfect.

XL

♥♥♥ Pierre Cardin

American documentary, by P. David Ebersole and Todd Hughes (1h35).

Trailer “Pierre Cardin”

He was the angel of futuristic fashion in the 1960s and 1980s. Resolutely modern, downright ambitious, he has carried his signature to all continents and created an empire (clothing, furniture, skis, perfumes, bikes, cars) over which he reigns today, at the age of 98. The two directors, who define themselves as “Cardinophiles”, retrace this incredible epic, with the testimonies of Jean-Paul Gaultier, Philippe Starck, Sharon Stone, Naomi Campbell, Jean-Michel Jarre, Hanae Mori… Assessment of a life? Certainly. But also a magnificent crossing of the century …

FF

♥♥♥ Elsewhere

Latvian animated film, by Gints Zilbalodis (1h14).

“Elsewhere” trailer

At the helm of this superb animated film, a single 25-year-old man, at the same time screenwriter, director, editor, composer and sound engineer. It tells the odyssey of a young boy lost on an island, chased by a disturbing creature and who tries to escape. A dark and solar nightmare, metaphorical of the adolescent condition and carried by a form as demanding as it is breathtaking. Not a dialogue, but bewitching music and a captivating work on the Scope. “Elsewhere” is not just an achievement, it’s a revelation.

XL

♥♥ Sing Me a Song

Franco-Swiss documentary, by Thomas Balmès (1h35).

“Sing Me a Song” trailer

It was a preserved corner, a haven of ancestral tranquility before 2.0 and 3G imposed their laws there. In “Happiness”, documentary filmmaker Thomas Balmès filmed the arrival of electricity and the internet in a Buddhist monastery, at the top of Bhutan, through the eyes of a child. Ten years later, for “Sing Me a Song”, he returned and found little Peyangki, now a young adult, addicted to smartphones like the majority of his classmates. To the point, concerning him, to make friends via WeChat with a girl from the city that he decides to join in secret. Why can’t we fully support this documentary with its splendid images? Precisely because his remarkably composed shots betray a staging and one cannot help but doubt the veracity of what one sees. Too good or, at least, not spontaneous enough to be true? Balmès, who wanted to use a cinematographic grammar, asserts that his film is a strict reflection of reality. His observation remains striking on the impact of modern technology in the most secluded corner of the planet.
N. S.



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


Will “Avengers” fans fall back on “the Tuche 4”? “Dune” version Denis Villeneuve is the last in a long list of blockbusters to see its theatrical release postponed. Before him, it is “Die can wait”, the last opus of the James Bond saga, which postponed its release from November to April 21, 2021, but also the Marvel “Black Widow”. Cautious in the face of the Covid-19 crisis, American studios are turning their schedules upside down. For French cinemas, which often rely on its American blockbusters to attract audiences and particularly at Christmas time, the horizon appears very gloomy, and hope no longer bears on French films.

Can post-Covid streaming have the skin of movie theaters?

Because the American market usually represents 40 to 50% of French theatrical releases. This summer, a traditionally busy period for cinemas, the lack of releases of these big-budget films has already been felt at the box offices: according to figures from the National Center for Cinema and Animated Image (CNC), 4, Only 78 million spectators went to theaters, 73% less than in July 2019 (18.26 million).

And the return has not really brought any improvement, with attendance figures of 5.51 million in September 2020, against more than 11 million in 2019.

“A huge frustration for the operators”

After a very difficult period since March, the sector awaits the

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“Yalda, the night of forgiveness”, “The dreamed child”, “Relic”… The films to see (or not) this week


♥♥♥ Yalda, the night of forgiveness

Iranian drama, by Massoud Bakhshi, with Sadaf Asgari, Behnaz Jafari, Babak Karimi (1h29).

Trailer “Yalda, the night of forgiveness”

It is the night of Yalda, celebrated for thousands of years in Persia. A young woman arrives, handcuffed, at Tehran’s Milad Tower, where Iranian television is located. In front of the cameras, Maryam is going to play her life, during a reality TV show, a sort of hallucinating “double or nothing”. She accidentally killed her elderly husband and has been detained for fifteen months. During the public debate, she must implore and obtain forgiveness from Mona (Behnaz Jafari), the daughter of the disappeared, otherwise she will be executed.

The director, Massoud Bakhshi, constructs a powerful drama, inspired by real events. The prosecutor will change the sentence if viewers vote for forgiveness, and the fine – the famous “blood price” – will be paid by the show’s sponsors. In purple velvet armchairs, two women in black, Maryam and Mona, clash, in a fight whose sole purpose is to attract audiences. On the set are the students of “The Institute for the Application of Morals”, strange institution that plagues the Koranic Dalloz.In Iran, a reality TV to decide whether or not the hanging of a young woman

The law of retaliation against ratings, the price of a head against the cost of ads. Here, hard wars are played out: class struggle (Maryam is poor), religious beliefs, hidden secrets… The apparent banality of this story and the acceptance of this form of justice, which is akin to lynching, are shocking. Can forgiveness, child of charity, be cashed in, under the watchful eye of God as an accomplice? “Yalda” is the song of the humbled.

Francois Forestier

♥♥ The dream child

French drama, by Raphaël Jacoulot, with Jalil Lespert, Louise Bourgoin, Mélanie Doutey (1h47).

Trailer “The Dreamed Child”

A village in the Jura. François (Jalil Lespert) and his wife, Noémie (Mélanie Doutey), try in vain to have a child. While Noémie launches an adoption procedure, François falls in love with Patricia (Louise Bourgoin), who has just settled in the area with her husband and her two daughters, and gets her pregnant. Keeping this child so much hoped for or mourning it, abandoning everything with Patricia or building even more with Noémie? A Cornelian dilemma whose weight Raphaël Jacoulot reflects well by adopting the point of view of François, on whom the noose tightens as the belly of his mistress grows and the success of his wife at the head of the family sawmill. Alas, everything collapses in the last act, whose tragic turn does not take, with female characters underwritten. It is all the more regrettable that Mélanie Doutey is formidable.

Nicolas schaller

♥♥ Relic

Australian horror film, by Natalie Erika James, with Emily Mortimer, Robyn Nevin, Bella Heathcote (1h29).

“Relic” trailer

At first glance, it’s a horror movie paradigm. A house that cracks everywhere, a missing grandmother who is looking for her daughter and her granddaughter, and who returns, demonic, doors slamming… In short, deja vu. Except that horror made in Australia always has something more sticky and ambiguous than its American cousin. Here, everything is played out in a perverse gynaeceum, with many unresolved conflicts, full of resentment and neurosis. The psychoanalytic subtext is creepier than the film itself.

Xavier Leherpeur

♥♥ Sister

Bulgarian drama, by Svetla Tsotsorkova, with Monika Naydenova, Sveltlana Yancheva, Elena Zamyarkova (1h37).

“Sister” trailer

Rayna, a teenager, spends her days with her mother in a terracotta figurine shop. To escape boredom, she makes up stories and claims to have an affair with Miro, a mechanic who is her big sister’s lover. This lie will provoke dramatic chain reactions… What makes the interest of this dark film, it is the glance of the scenario writer on a medium of beggars resulting from the debacle of communism. No future, but incredibly alive characters, in particular Rayna, sympathetic rebellion. There is an energy there which gives this small mown film an air of cinema-verite, a modern echo of the outbursts of the New Wave.

F. F.

Parents of students

French comedy, by Noémie Saglio, with Vincent Dedienne, Camélia Jordana, Oscar Pauleau (1h29).

“Parents of pupils” trailer

The babysitter falls in love with the schoolmistress, the parents are all weird, the kids are nice, and the school year is spent in misunderstandings and missed opportunities. Everything is expected, long. Vincent Dedienne does his best to seduce Camélia Jordana, and we undergo a series of shots in the tone of a boulevard room. Noémie Saglio, the director, does her best to keep things light. The ace ! This better is not enough.

F. F.

♥♥ We Are Soldiers

French documentary, by Svitlana Smirnova, with Dmytro Trompac, Anatolii Fateev, Oleksii Sokolovsky (1h01).

Three Ukrainian soldiers fought against the Russians and the separatists. They left their physical integrity, their patriotic illusions and their comrades under the bullets on the battlefield. Amputees, crushed forever, even if silence and sometimes denial prevail over recriminations, they now live in a military hospital. By filming them in their rehabilitation and their loneliness, the filmmaker captures their distress and, in the background, the way in which Ukraine has used their martyrdom before putting them aside. A sober and poignant tribute to men sacrificed by a little grateful country.

X. L.

♥♥♥ Chien Pourri, life in Paris!

Franco-Belgian animated film, by Davy Durand, Vincent Patar and Stéphane Aubier (1h00).

Trailer “Rotten Dog, Life in Paris!”

As the name suggests, Chien Pourri comes from the streets and smells particularly bad. On the Parisian asphalt, our stinky ball becomes friends with Chaplapla, a flat cat, and arouses the jealous curiosity of two other dogs, beasts like their paws, convinced that our hero has superpowers. Second degree, full blast and tense humor, between Jacques Tati and Tex Avery: this big-screen version of a staple of children’s literature hits the mark. An epic carried by cartoony animation and the art of burlesque nonsense.

X. L.

It missed

My grandfather and me

American comedy, by Tim Hill, with Robert De Niro, Uma Thurman, Christopher Walken (1h38).

My Grandpa and Me Trailer

This is not a movie, it is a pension point laundering operation. The only explanation for the presence of Robert De Niro and Christopher Walken in this thing barely worthy of a Sunday afternoon on the Gulli channel. The “Raging Bull” actor, whose best role in twenty years has been to insult Trump on TV, plays a grandpa at war with his grandson since he moved into his room. He finds, for a few scenes, his partner from “Voyage au bout de l’Enfer”. Highlight of the show, forty-two years after the Russian roulette sequence: a game of ball in the prisoner against a group of prepubescent kids. Journey to the end of the hell of the turnips that the indebted stars pretext to turn to please their grandchildren.

N. S.

It comes out

♥♥♥ Malignant

American drama, by John Huston, with Brad Dourif, Dan Shor, Harry Dean Stanton (1979, 1h41).

Trailer “the Evil One”

The whole world of Flannery O’Connor is there: the bigotry of the Deep South, the madness of those wretches who have the gun in one hand and the Bible in the other. John Huston adapts the novel with fascinating mastery, and we follow with passion the adventures of Hazel Motes, a young pastor who invents the “Church of Truth without Christ” and walks with a mummified body in the town of Macon, Georgia. , epicenter of “evangelical” cults. Brad Dourif, revealed by his role in “Flight over a cuckoo’s nest”, is extraordinary. This saga of madness has the quality of a sumptuous recurring nightmare.

F. F.



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



Meeting her reminds us of how irreplaceable she is. Béatrice Dalle, in Gaspar Noé’s new film, “Lux Æterna”, plays her own role with a good dose of self-mockery: she is an actress there. borderline, overwhelmed by the shooting of her first film as a director, an arty drama on the myth of witches. Ironic when we know to what extent the sulphurous reputation, the scent of debauchery and scandal that has surrounded her name since her sensational debut in “37 ° 2 in the morning” 34 years ago, have made her the witch of French cinema. . The one whose truths disturb. Whole, crazy and very funny, Béatrice Dalle scares those who do not deserve her.

Beatrice Dalle: About ten years ago, I was watching TV and I stumbled upon an episode of “The Simpsons” in which Marge and Homer are celebrating Valentine’s Day, and Homer releases a K7 video of “37 ° 2 in the morning. Where I am drawn in Simpson. I’m in an episode of The Simpsons! You realize, the consecration! It’s something other than the Legion of Honor.

“37 ° 2 in the morning” has been so successful all over the world, there isn’t a country where I don’t know people, it’s incredible. There is even an episode of “The X-Files” called “Mission: Betty Blue” [du nom de son personnage dans le film, NDLR]. I have made 85 films, some of which I greatly prefer, but people talk to me about this one all the time.

https://www.youtube.com/watch?v=Dkr6ilPYvGk

Is it a weight?

No. There is more to life.

The first quarter of

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From Sissi to Romy


On the occasion of the anniversary of the birth of the immense actress Romy Schneider, “l’Obs” republishes a tribute written by Jérôme Garcin.

Long after having disappeared, she gets out of a taxi and observes through the garden gate the two men, Caesar and David, whom she loved, who loved her, who fought for her, and who did not not changed. They’re sitting at the table over there in the kitchen, and they’re laughing behind the glass, the childish laugh of bachelors.

She is so moved by them that she remains frozen in the doorway. She hesitates to open it, for fear of disturbing a complicity which, by disappearing, she was once the instrument. We recognized the last shot of “César and Rosalie”, this film by Claude Sautet that we know by heart, with the still image of Romy Schneider, shy and pale as a sun after the storm.

READ ALSO> Romy Schneider, Dutronc and me, by Françoise Hardy

Thirty years have passed since her death, and one would think she is still there, hesitating to remember our memory, motionless behind the garden gate – it is on the spikes of a gate that one day of the summer 1981, her son David impaled himself, he was 14 years old, she did not survive. And we, like Yves Montand and Sami Frey, we eat seafood, we laugh, we chat, we feign recklessness, but we can’t forget it, we watch it. Because she was unique.

Never, on the screen, had the joy of playing so far removed the pain of living. Never had grace been so poignant, joy so melancholy and beauty so angry. In the register that was hers: grief and pity, no one has replaced her. In the consummate art of concealment and “never explain, never complain», No one has equaled it. What she had suffered she turned into aplomb and gold. The cinema was his ordeal.

The brief existence – forty-four years – of the Austrian Rosemarie Albach was indeed a Stations of the Cross, bordered by accidents, suicides, separations, depressions, bottles of alcohol, boxes of sedatives, regrets. and remorse. The “Passante du Sans-Souci” hated the Sissi in a crinoline that she had embodied. The Clara of the “Old Gun”, burnt alive by the Nazis, never ceased to hold her country, her National Socialist father and her mother who allegedly had an affair with Hitler to account. All her life she wore a sparkling Star of David around her neck. And, on his shoulders, the dark weight of the world.

The trays were her only refuge, where she put her anxieties on vacation, wanted to believe in happiness in the arms of Alain Delon and that she would grow old in front of Claude Sautet’s camera. Several books appear for the anniversary of his disappearance, May 29, 1982. They restore the luminous legend and its black face, the moments of glory and the inner scars. Leafing through them, one has the impression of seeing her lift her veil to smile at Philippe Noiret. O, that smile …



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Véronique Cayla should take the head of the Caesar


Véronique Cayla, former boss of Arte and the CNC (National Cinema Center), the only candidate for the head of the Academy of César, in tandem with the filmmaker Eric Toledano, should be appointed Tuesday for this post, according to Le Figaro .

Ms. Cayla would thus succeed Alain Terzian, at the top of an institution shaken by controversy for several months. Eric Toledano – director with Olivier Nakache of“Untouchables” and other successes of French cinema – should be its vice-president.

The Académie des César was not reachable on Sunday evening.César and feminism: at the beginning, Caroline Fourest and Rokhaya Diallo were rather in agreement …

Decision next Tuesday

The new general assembly of the Academy of Caesar must meet on Tuesday and try to put an end to the criticisms of his self-esteem and his lack of parity, by electing a new board of directors with a tandem woman / man as its president.

Alain Terzian was for 17 years the boss of this institution now criticized for its opacity and its lack of internal democracy.

Caesar: how House Terzian fell

He had resigned, along with all of the old management, in February. The Academy was then in full storm and the crisis had peaked a few days later when Roman Polanski, targeted by accusations of rape, won the César for best director for his film. ” I accuse “.

Caesar ceremony: the evening when the outside is invited inside

Polanski will be absent

The filmmaker was not present to receive his prize, but the sensational departure of actress Adèle Haenel had marked the ceremony.

Polanski also announced Friday that he would not attend the general assembly of the Caesar earlier this week. The director is an ex officio member of this general assembly, however renewed, because of his quality of “Historical member”.

Charlotte Lewis accused Roman Polanski: “They said I was a prostitute, a liar”



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Vincent Lindon is “ready to take risks so that his children live without a mask”


After Nicolas Bedos, Vincent Lindon. Guest of the magazine “8:30 pm Sunday” on France 2 Sunday September 27, the actor confided in the wearing of the mask and the management of the health crisis.

“Anyone who does not have his mask is denounced. I thought, before the confinement, there was a rumor that the being was going to get better. Being, including me, everyone, that we were going to become better, that we were going to realize but in fact no “, lamented the actor.

“I have the impression that we have resumed our bad habits, our bad reflexes. That’s what scares me the most. It is for our children… ”, he testifies. At a time when restrictive measures were taken to regulate the opening of bars and restaurants in the capital, Aix-Marseille and Guadeloupe, Vincent Lindon abounds:

“I have lived all my life in a world where parents sacrifice themselves for their children. I have the impression that we sacrificed our youth a little for the parents. I am ready to take risks so that my children can continue to live without a mask and laugh, go to bars… ”Covid at school: has France done better or worse than its foreign neighbors?

“We must find a way to make them hope”

After an intervention by Laurent Delahousse, Vincent Lindon temporizes. “Yes, she [la jeunesse] wear the mask. Let her be vigilant. We have to find a way to make them hope so that they do not fall into a nervous breakdown even before entering the working life. “

“I lived, I laughed a lot, I had fun… I was very lucky. I fell into a great period, one of the most beautiful moments in life, and there you have it, if it has to cost damage… There is no world that is done without damage. “

The sequence was commented on on social networks by both supporters and detractors of Vincent Lindon.

“Well done for these few words on the abuse of masks and the spread of fear! Thank you “, indicates a Twitter user. “We caricature the words of Vincent Lindon which seem very wise to me”, adds another. The actress Véronique Genest, for her part, denounces the “Doxa” on wearing a mask.

Conversely, Jean-Michel Apathie published a message tinged with irony: “In this excerpt, Vincent Lindon says both that young people must live without a mask, and that they must wear it. Thank you. Certain thoughts help us understand the complexity of the world. Astonishing, no? “. “I imagine that Vincent Lindon is speaking as head of the intensive care unit, epidemiologist and virologist”, taunts another Twitter user.

Last week the comedian Nicolas Bedos had sparked controversy by publishing a message denouncing the new measures taken by the government to fight against the epidemic.

The French anti-masks, “a sphere surprisingly full of executives and CSP +”

Vincent Lindon had also expressed his opinion on Quotidien with regard to the controversy following the message of Nicolas Bedos. He had underlined to understand the substance of the message while expressing reservations on the form.

“I could basically agree. It is true that the sentence is strong. You have to be Jean Moulin to say ‘Quit dying to live’. I understand what he meant. It means let’s go now, let’s kiss each other, see each other… ”



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Aurel launches into animation: “It’s an opportunity to give life and meaning to my drawings”


His quill is scratching – in the papers. His film moves – on the screen. Aurel, press cartoonist, enjoys caricaturing politicians, events, current affairs. Passed to the cinema, he tells in “Josep”, the adventure of Bartoli, Spanish anti-Franco artist confined in several concentration camps in France in 1939. Dispossessed of everything – except of his talent – Josep Bartoli went through one of the most difficult periods. blackest in history. Tracked down by the fascists, mistreated by the French gendarmes, escaped and recaptured by the garbage of Vichy, delivered to the Nazis, he managed to take off, and to take refuge later in Mexico, then in the USA. The film pays homage to him, but its particularity is to be… a cartoon. Format reserved for children? Not at all. We are not at Walt Disney, but in the river of an exemplary life – because Josep Bartoli did exist. How do you make an animated biopic? And why ? We put the questions to Aurel.

“Josep” trailer

How do you go from press cartoons to animated cinema?

One of my activities is drawn reportage. This is how I described the election of Obama, or the situation of the illegals. In 2011, I co-directed an animated short, “Black October”, but I had no particular artistic desire when it comes to cinema. Everything happened by chance encounters. It was at this time that I discovered Bartoli’s work… What brought me

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Entertainment

In Iran, a reality TV to decide whether or not to hang a young woman


For life, type 1. For death, type 2. Between two songs and two commercials, the handsome host invites viewers to choose between the release or hanging of a young woman. That evening, the night of the Zoroastrian festival of Yalda, where the winter solstice is celebrated by eating red-hearted fruits and reciting poems by Hafez, twenty million of them, glued to the small screen, to play the game. It looks like a satire on reality television, a parody of a popular trial, an ubiquitous version of “Bring the accused in”.

Well, no, the program which inspired “Yalda, the night of forgiveness” by Massoud Bakhshi (in theaters October 7) really exists. In Iran. This forgiveness, to save their lives, the repentant must obtain it directly from the mouths of relatives of victims, while viewers are called to give their opinion before the arrival, on the set, of a prosecutor, who records the final award. A show presented in the style of a variety show, but designed to raise the suspense and let believe that the people of the TV jurors are sovereign. If forgiveness wins, the sponsors will pay the victim’s family the heavy lifting “Blood price”.

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Explode the ratings

Upset and even stunned that, in his country, television juggles life and death under the sun, Massoud Bakhshi has made a remarkable film, which in turn overwhelms and stuns us. In this cathodic camera, his camera flits between the set, the control room and the backstage of a program where the fate of Maryam, 22, is being played out, whom the police bring, handcuffed, to the studio. She accidentally killed her husband, Nasser, a 65-year-old publicist, with whom she was pregnant. After fifteen months in prison, sentenced to death, she can only escape if Mona, Nasser’s only daughter, grants her her pardon in public. To which, focused on its principles and its interests, it seems not to consent.

The confrontation of the two veiled young women is coupled with a class struggle: Maryam comes from a modest background, Mona is a rich heiress. Orchestrated by the producer, the revelations and the dramatic changes will disrupt the direct and explode the audience. If this suffocating film, masterfully directed, is so uplifting, it is because it casts an incandescent light on Iranian society, its Islamic law, its patriarchal traditions and its official television, where even morality is convoluted. with kitsch.

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Published in “L’OBS” on October 1, 2020.