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THE EVENT
THE PRISONER OF BORDEAUX ★★☆☆☆
By Patricia Mazuy
The essentials
Despite Hafsia Herzi, this second meeting on the big screen between her and Isabelle Huppert, after Les Gens d'à côté by André Téchiné, is not very appealing.
There is the one in Ford's desert. Mazuy invents the one in Bordeaux. They are plural: the upper-class woman and the prole, soon magnetized by a (un)common pain: their respective husbands are behind bars. In the center, a beautiful house surrounded by tower blocks instead of the ochre earth of Monument Valley. The western of social classes that is taking place intrigues even if everything seems too in place (the actresses, the decor, the plot…) So we watch for the flaw. The world is hard ” we learn, people spend their time lying, cheating on each other. The unfaithful spouse offered as a consolation prize a painting made of torn posters (true fake Hitchcockian MacGuffin) What can ultimately connect this woman of the world and the people? The bromance is problematized with such muffled steps that we no longer hear anything. Yesterday, at Téchiné (The people next door) today here, Herzi looks at Huppert again. In both cases, there is a lack of electricity that would set everything ablaze.
Thomas Baurez
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FIRST LIKED
PARADISE IS BURNING ★★★☆☆
By Mika Gustafson
There are three of them: a teenager, Laura and her two younger sisters Steffi and Mira. Laura, the eldest and the head of the family because their mother left the family home. Throughout the story, she will be off-screen. The one whose absence must be hidden to prevent the whole tribe from being scattered among foster families. The one that Laura must replace as best she can by protecting and managing the no less explosive natures of Steffi and Mira. And this at a time in her life when she must face an unprecedented awakening of the senses and manage her heart and her heart that races for a neighbor, the first adult to cast an enveloping gaze on her but with a more ambiguous attitude than it seems. Mika Gustafson succeeds here in making us physically feel the vertigo of the contradictory feelings that sweep her away and threaten to overthrow her at any moment. And she signs a beautiful film about children left to their own devices because of failing or absent adults.
Thierry Cheze
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CRACKS ★★★☆☆
By Christophe Duthuron
There is some A little something extra in this Cracked. The same talent for talking about difference without falling into sentimentality. Duthuron (The Old Stoves) takes on the story of the Arc-en-ciel, an association in Marmande that welcomes people who have been broken by life and helps them face the little things of everyday life that have become impossible mountains to climb. The plot is based on an eviction threatening the shelter to reshuffle the cards in the relationship between the cared for and the cared for and to make the founder of this association a more complex character than he seems. Ready to sacrifice the future of the Arc-en-ciel when he refuses to move to new premises in order, deep down selfishly, not to betray the memory of his deceased wife whom he met in this place from which they are being chased. Pierre Richard brings nuance and depth to this role written for him, the figurehead of a band of joyfully complicit actors mixing professionals and amateurs, which touches the heart.
Thierry Cheze
SEPTEMBER WITHOUT WAITING ★★★☆☆
By Jonas Trueba
The meeting, the first date, the first confessions… Some elements that make a film a romantic comedy par excellence, but that Jonás Trueba takes pleasure in dodging. He prefers to film the loss of love, to tell the story of the end of an idyll rather than its beginning, to point out its beauty. Better: he plays it down. Because here, there is no bitterness between Ale and Alex (Itsaso Arana and Vito Sanz, the filmmaker's favorite actors), but a letting go as the couple decides to organize a big party to celebrate their breakup. Because how else can they say goodbye? It is with this refreshing counterpoint that Trueba touches the heart. But his inventiveness does not stop there: the editing of the sequences is done before the eyes of the viewer who, amused, finds himself both outside the film and inside it. Surprising and melancholic, September without waiting will end the summer gently.
Lucie Chiquer
DOCTOR ★★★☆☆
By Antoine Page
Everything you always wanted to know about studying medicine but were afraid to ask. In 2010, Antoine Page embarked on the ambitious project of documenting his brother Angel's entire academic career. For 12 years, the director made us witness his younger brother's thoughts and doubts, from the start of his first year of medical school to obtaining his diploma, including his many internships and his year abroad. Between the logbook and immersion in his daily life, Angel takes the time to verbalize his feelings over the months and years. And what could have been just an overview of the medical world instead plunges us into the depths of the solitary path of a passage to adulthood. Enriching and touching, Doctor sheds light on the issues of a profession and a vocation in crisis.
Bastien Assie
DREAMING WALLS ★★★☆☆
By Maya Duverdier and Joe Rohanne
It is a place that has entered into legend: throughout the 20th century, dozens of personalities, sometimes famous, sometimes still unknown, stayed at the Chelsea Hotel in New York. This immense red brick building where Patti Smith lived for a time. The still-baby face of the singer and poet — who herself described this place in Just Kidsan autobiographical story — is captured by an old camera. His enthusiasm serves as an opening to this documentary, which we sense from the first minutes is imbued with a strong nostalgia. As the establishment prepares to become a luxury hotel, Maya Duverdier and Joe Rohanne go to meet the historical inhabitants of the place, the workers responsible for renovating the building in order to better explore the legend — all interspersed with archive images with singular colors and grain. A beautiful exercise in style, although a little outdated.
Emma Poesy
FIRST TO AVERAGE LIKED
ALIENOID: THE CONFRONTATION ★★☆☆☆
By Choi Dong-hoon
Five months after the release of the first part in France, the Alienoid saga is back with a second, even more ambitious episode. Its heroine, Ean, now navigates between two eras, the 14th century and the 21st century, to fight aliens seeking to seize a secret and infinitely powerful power that threatens the future of our planet. As in the first film, we don't understand the plot, which evolves heavily between superbly choreographed fights and pointless jokes. While the actors are having a blast, this South Korean blockbuster chooses to never take itself seriously, defusing every situation that presents a semblance of interest to maintain the pressure until the grand finale. And it fails, in fineto assert its singularity compared to Marvel productions, which do much better in the same genre.
David Yankelevich
THE NIGHT DRAGS ON ★★☆☆☆
By Michiel Blanchart
A new talent in Belgian genre cinema, Michiel Blanchart had achieved a masterstroke with his short film You're dead Helena shortlisted horror comedy for the Oscars that caught the eye of Sam Raimi, among others. The same kind of unbridled generosity animates the filmmaker's first feature film, an action thriller set almost in real time in a nocturnal Brussels where protests close to the movement are taking place Black Lives Matter. The hero here is a student who works as a locksmith at night and who will find himself, despite himself, an accomplice in a criminal affair forcing him to embark on an intense race against time. But if the staging proves to be extremely effective and offers quality chases in the streets of Brussels, the weak characterization of the characters and the political background leaves the show with a real taste of unfinished business.
Damien Leblanc
THE GOOD DEAL ★★☆☆☆
By Natja Brunckhorst
Take two German actors with great international careers (Sandra Hüller and Max Riemelt), bring them back home and have them play in a social comedy set in the aftermath of the fall of the Berlin Wall. What does it give? A film that is initially enticing, which reminds us rather well that the workers of the former GDR did not live in a black and white world where everyone pulls a face. On a crazy idea, a neighborhood starts to steal notes of the old currency in an organized gang to convert them by various means into Deutsche Mark – a rather lucid metaphor on the global economy and the relations between unequal geographical forces (here, the two sides of Germany in the process of reunification), but which does not hold water and completely explodes in its finale, rushed and lunar. A good deal usually hides a dirty trick …
Nicolas Moreno
And also
The AI of evil, by Chris Weitz
Resumption
The Bachelor's Apartment, by Billy Wilder