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“The Promises of Hasan”, “The Year of the Shark”, “Bullet Train”… Films to see (or not) this week



♥♥Hasan’s Promises

Turkish drama, by Semih Kaplanoglu, with Umut Karadag, Filiz Bozok, Gökhan Azlag (2h28).

A magnificent light floods the image, a zef to dehorn the oxen blows in the grass and Hasan, a prosperous farmer, whom a prologue has taken care to show us as a child, sleeps under a majestic tree. A technician comes to requisition his field to erect an electric pylon. The old man resists and suggests choosing… the neighbour’s.

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As the film progresses, the spectator discovers his compromises to protect his interests to the detriment of those of others: use of pesticides out of greed (the EU will take his apples away from him), purchase of land for almost nothing, conflict with a brother from whom he estranged. As for his wife, she stubs on the absent blue edging of a blanket for which she placed an order. The project of a trip to Mecca will force the Turkish peasant to settle his accounts – a pair of shoes never paid for, the scene is quite funny – and to face his conscience.

Discovered in France with the elegiac “Yusuf Trilogy”, Semih Kaplanoglu remains faithful in his own way: obvious plastic sense, invitation to contemplation, climax of a sublime nightmare where a torn tree reappears at the top of the earth, occupying the whole screen. The second chapter of a second trilogy begun in 2019 on forgiveness, “Les Promesses d’Hasan” pays constant attention to an environment damaged by man, shots of a dead cat or overripe fruit. Kaplanoglu sees his art “as a confrontation of life in the light of the higher powers”his films all evoke a world that is disappearing. Sophie Grassin

♥ The Year of the Shark

French comedy, by Ludovic and Zoran Boukherma, with Marina Foïs, Kad Merad, Jean-Pascal Zadi (1h27).

Zealous policeman in a seaside resort in the Landes where “all you can do is lay your ass on the sand and watch the waves”, Maja (Marina Foïs) is a few days away from retirement… at 50 years old. This is the moment a shark chooses, disoriented by climate change, to prowl the bay. A godsend for Maja, in no hurry to take it easy with her husband (Kad Merad, in a Hawaiian shirt). After “Teddy”, the Boukherma brothers pass ” jaws “ through the sieve of their braque humor (at the crossroads of “P’tit Quinquin” and the show “Strip-tease”). Satire of the anti-woke boorishness, ode to the humiliated, victims of ambient bullshit, their film does not lack ideas, but for a short film. At 1 hour 27, time is getting long and their universe seems all stunted. Nicholas Schaller

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♥ Bullet Train

American action comedy, by David Leitch, with Brad Pitt, Joey King, Aaron Taylor-Johnson (2h07).

A zen and fishy criminal, English twins as talkative as they are dissimilar, a student in a pink skirt, a Mexican in cowboy boots, a Japanese loser, etc., are gathered in the Shinkansen, a high-speed train linking Tokyo to Kyoto. All are killers and run after a briefcase of money belonging to the leader of the underworld, soberly nicknamed “the White Death”. Post-Guy Ritchie porridge (in better film), puffing out all the racks of pop cynicism and uninhibited violence for manga fans, with no idea other than a vague meta humor as stupid as it is inconsistent, “Bullet Train” is lay there. Even Brad Pitt, rather amusing in imitation-Dude (the character of Jeff Bridges in “The Big Lebowski”), ends up getting drunk. N.S.

♥ Superhero lovers

Italian romantic comedy, by Paolo Genovese, with Jasmine Trinca, Alessandro Borghi (2h00).

Or a story of a couple told over twenty years. Anna (Jasmine Trinca, delicious), designer resistant to commitment, meets Marco, a Cartesian physics teacher. She crunches them as superheroes – isn’t love the greatest of adventures? – in successful comics. He summons Einstein and Newton to explain to his students the relativity of time. Thwarted time, chance and destiny indeed form the big deal of this romantic comedy served by its length where the director jostles the temporalities, multiplies the places, invites the melody, but where also pass here and there a lot of charm and universality. love disorder. S.G.

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It stands out

♥♥♥ François Truffaut, the golden years

Retrospective in 7 films.

The filmmaker of “Pocket Money” used to say that he made each film against the previous one. This was never truer than in the 1970s. There he wandered from period drama to contemporary, adapting William Irish with Jeanne Moreau as a killer of men (“The bride was in black”) , was inspired by Henry James to film the painful erotomania of Adèle Hugo/Isabelle Adjani (“The Story of Adèle H.”) and rubbed shoulders with taboo questions: how to live with our dead (“The Green Room )? Education civilizes but does it humanize (“the wild child”)? As for the vibrant and autobiographical “The Man Who Loved Women”, isn’t it one of the most honest films about the desire and the morbid need to seduce? Add to this the morbid couple embodied by Deneuve and Belmondo in “La Sirene du Mississippi”, and the verdict is clear: love, for Truffaut, was neurotic and obsessive. A joy, sometimes, a pain, always. N.S.

♥ Fires in the night

French historical drama, by Dominique Lienhard, with Ana Girardot, Igor Van Dessel (1h34).

In the 19the century, a coastal village of great poverty survives thanks to the shipwrecks caused by night fires. The departure of the village chief, the arrival of the king’s troops and a pandemic will precipitate the drama. An amoral tale starring a young man too sensitive to fulfill the destiny of his family and who dreams of being an altruistic healer. Added to the obvious lack of means, the staging, delicate but illustrative, is without scale or presence. The actors, including the excellent Ana Girardot, struggle to give substance to characters who remain archetypal. Xavier Leherpeur

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♥ Offset

Spanish drama, by Juanjo Giménez, with Marta Nieto, Miki Esparbé, Fran Lareu (1h44).

The idea of ​​the scenario is excellent: a sound engineer, named “C.”, specialized in the synchronization of voices in the cinema, realizes that her brain imposes an increasingly important interval between sounds and perception, therefore an experienced desynchronization. Interesting questioning of an entire life, the film questions the silence and the adequacy of our senses to reality. The default is that the situation repeats itself, from scene to scene, causing weariness. The initial concept stretches, interest fades, reflection stagnates. There remains the disturbing discovery of the sound universe, often ignored by the cinema, marking the originality of an interesting, but unfinished work. Francois Forestier



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