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THE EVENT
EMILIA PEREZ ★★★★☆
By Jacques Audiard
The essentials
A multi-award-winning musical comedy at Cannes about a Mexican drug trafficker who decides to change sex! Audiard surprises, amazes and enchants with a quartet of flamboyant actresses, including THE revelation Karla Sofia Gascon
Enter in Emilia Perez is the promise of an incredible, spectacular, thrilling journey for 2 hours and 10 minutes. The story opens with Rita, a precarious lawyer forced to use her talent to defend criminals that she is furious to have acquitted almost every time. And whose life changes the night she is kidnapped by this drug trafficker, Manitas, to help him change sex and become Emilia, the woman he has always been deep down, after pretending to be dead to his family. Drugs, violence, gender transition… Emilia Perez is fully in keeping with its time, but here, the subjects are at the service of the film and not the other way around. No trace of a message to hammer home. Just cinema. Nothing but cinema. With an incredible fluidity in the script given the multitude of twists and turns that occur, with an assumed and refreshing first degree in an era of king cynicism and with astonishing musical quality. A film that does not flex its muscles but opens hearts.
Thierry Cheze
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FIRST LIKED MUCH
ANZU, GHOST CAT ★★★★☆
By Yôko Kuno and Nobuhiro Yamashita
Anzu, a stray cat turned ghost cat, has grown up to be far from a wise Totoro. With a Dumbphone around his neck and perched on a scooter that he drives without a license, he alternates between odd jobs and small scams while his life goal is to down beer in front of the pachinko machines with the village kids or with his friends. yokai (Japanese spirits)… The ferociously angry pencil drawing of Takashi Imashiro's original manga is replaced by a brighter and more colorful visual in its adaptation on a large scale. And we love spending time with this big rude Anzu throughout a story celebrating the slacker and pirating the odes to effort and self-improvement.
Sylvestre Picard
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FIRST LIKED
THE CROW ★★★☆☆
By Rupert Sanders
The magic formula John Wick did she manage to pull off the reboot/remake of The Crow of development hell while the project has been languishing in the DTV fog for decades? The result is less John Wick than expected, even if the climax of the film (the hero massacres a dozen henchmen with a katana on the stairs of an opera house, in an ultra-violent way) resonates a lot with the overwhelming Keanu saga. In fact, this strange, and not unpleasant, mix of a brutal urban thriller with a backdrop of emotive supernatural romance, crossed with references to the imagery of the “aesthetic” filmmakers of the 80s is more reminiscent of the pretty Constantine by Francis Lawrence The best idea of this project (besides Bill Skarsgård's abs) is to have hired Rupert Sanders. Even if this Crow-there, a little broken, a little patched up, is the opposite of the beauty of its remake of Ghost in the Shellwe can't help but find it more fascinating and successful than average.
Sylvestre Picard
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BLINK TWICE ★★★☆☆
By Zoe Kravitz
By a twist of fate, two girlfriends who work as waitresses at high-society galas find themselves invited to the private island of a tech tycoon, along with a handful of wealthy partygoers. The two young women can't believe their luck: the island is heavenly, the food is delicious, the billionaire is adorable, the champagne flows freely and the joints are getting bigger every day. Little by little, however, the time markers start to blur… Things are going to go wrong, something is going to go wrong in this first feature film by Zoé Kravitz, we can sense it because we've seen Get Out Or Promising Young Womanat the intersection of which is located Blink twicewhich could be in the tail of a comet that began its course at the beginning of #MeToo. But despite the overdose of references, despite this big feeling of déjà vu, despite even the many forced plot twists, the film grips the viewer, with its very assumed music video seduction and the raging energy of the metaphor spun by Zoë Kravitz around trauma, memory, forgetting, forgiveness, and the crocodile tears shed by certain predators during fake media repentances.
Frederic Foubert
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GIRLS WILL BE GIRLS ★★★☆☆
By Shuchi Talati
Mira is 16 years old. A brilliant student, and therefore inevitably envied, at a school that trains the country's elite in a strict atmosphere, she sees her heart racing for one of her classmates, who comes from Hong Kong. And her whole little world will be turned upside down, starting with her mother, a former student at the same school, who pushes her to succeed in the best possible studies so as not to live her own life, too dependent in her eyes on her husband but whose own confusion towards this boy will create jealousy in her daughter. Girls will be girls proves to be as relevant in exploring the beginnings of its heroine's sexual awakening as in the rising tension in her relationships with the other boys at the institute who, out of romantic spite for some or inability to accept that she was elected delegate over them for others, will push their harassment strategy far. Two intense hours, rich in contradictory feelings where Schuchi Talati amazes with the fluidity of her writing and the relevance of her perspective.
Thierry Cheze
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FIRST TO AVERAGE LIKED
PROJECT SILENCE ★★☆☆☆
By Kim Tae-gon
A pile-up, a bridge about to collapse, fog you could cut with a knife, a few helpless soldiers, dogs trained to kill on command and a handful of survivors to play the sausage meat: that's pretty much the complete program of Project Silencea disaster film with a strong Z-series tendency, screened in a midnight screening at the 2023 Cannes Film Festival. Having survived a VOD release, this outdoor huis clos by Korean Kim Tae-gon had the powerful argument of being lit by Hong Kyung-pyo, a gifted person who worked on three Bong Joon-ho films and the masterpiece The Strangers. Unfortunately, his talent is drowned here under chaotic special effects (hard to believe in these CGI dogs) and stereotypical characters whose behavior too often defies logic. But the solid pace and a few action scenes mixed with humor slapstick maintain interest.
Francois Léger
SYLVANIAN FAMILIES THE MOVIE, FREYA'S GIFT ★★☆☆☆
By Kazuya Konaka
This simple mini film (in which a little rabbit looks for the best birthday present for her mother) aimed at the youngest audiences doesn't offer much other than its cute appearance: and even then, we won't blame you for finding the original toys even more kawaii. A stop motion animation, with the characters in “real” form, would surely have served the franchise better than these bits of drifting story.
Sylvestre Picard
FIRST DIDN'T LIKE
ZENITHAL ★☆☆☆☆
By Jean-Baptiste Saurel
Director in 2012 of the noted short film The SlapJean-Baptiste Saurel has chosen for his first feature film to offer a sequel to this extravagant action comedy. We therefore find, more than ten years later, the couple formed by Sonia (Vanessa Guide) and Francis (Franc Bruneau), a man who was in The Slap terribly self-conscious about the size of his genitals. The filmmaker (also director of episodes of the series Zorro) takes into account societal developments since 2012 and questions patriarchy in a schoolboyish way, notably through a grotesque guru (played by Xavier Lacaille) who seeks to defend male domination. Despite this desire to mock machismo, the film suffers from overly expected comic devices and already seems dated even though it wanted to modernize its subject. And the theme of sexual frustration turns into cinematic frustration.
Damien Leblanc
SICARIO'S SON ★☆☆☆☆
By Astrid Rondero and Fernanda Valadez
How to escape the systemic violence caused by cartels? This is the question that this film attempts to answer, not without redundancy, by following the fate of a young Mexican over several years after the death of his father, a fallen hitman. But it is difficult not to fall into the déjà vu. All the more so since the story, fleeting and devoid of tension, skims its subject and fails to cultivate the mysticism introduced at the beginning of the film. We ultimately come out more indifferent than bewitched…
Lucie Chiquer
RODEO ★☆☆☆☆
By Joëlle Desjardins Paquette
Among the top single fathers bonding with their daughters is Paul Mescal ofAftersunthe Harris Dickinson of Scrapper…And then far behind, the trucker dad of this RodeoSerge Jr who prefers to kidnap his daughter and take her on a road trip. It is indeed difficult to feel empathy for this man who makes a series of dubious decisions, even grotesque stupidities (leaving a gun within reach of Lily, 9 years old…). And, as a result, the result turns out to be not very touching.
Lucie Chiquer
And also
The Last Bus, by Gillies Mackinnon
Resumption
The Blue Soldier, by Ralph Nelson