The Good Stars
- To see
Drama by Hirokazu Kore-eda, 2:09
In
the Good Stars
, Kore-eda puts his favorite themes back on the job: filiation, transmission, parent-child relationships.
Kore-eda only films the family, united by blood ties or not.
He films it with the grace and harshness that have constituted his cinema, since his transition from documentary to fiction in the mid-1990s. This time, the Japanese director shows a family in the process of being formed.
Its nucleus is a baby, deposited one rainy evening by a young woman in front of a "baby box", a box intended to collect abandoned children.
The two men from the association who recover it decide to keep it.
Sang-huyn (Song Kang-ho), baby carrier on her stomach and tender smile glued to her face, does not have the profile of a child trafficker.
Yet that's what he is, boss of
an indebted and crafty laundry.
He is watched by two policewomen who want to arrest him in flagrante delicto.
Things get complicated when the baby's mother comes back to pick him up.
The two kidnappers take him on board by offering him a slice of the cake.
Along the way, they take a kid and his ball from an orphanage.
The whole troop boards a van in search of customers.
A buyer in Seoul is willing to shell out 30 million won.
The road-movie here gives everyone time to reveal their secrets and their suffering.
The whole troop boards a van in search of customers.
A buyer in Seoul is willing to shell out 30 million won.
The road-movie here gives everyone time to reveal their secrets and their suffering.
The whole troop boards a van in search of customers.
A buyer in Seoul is willing to shell out 30 million won.
The road-movie here gives everyone time to reveal their secrets and their suffering.
E.S.
_
Read alsoOur review of the Good Stars: two men and a bassinet
Falcon Lake
- What to see
Dramatic comedy by Charlotte Le Bon, 1h40
For her first production, Charlotte Le Bon adapts a graphic novel by Bastien Vivès.
And chronicles a love summer between teenagers.
Bastien is not 13, but almost 14. At this age, the months are important.
That summer, the family had spent the holidays in Quebec, in a chalet on the edge of a lake, with friends.
The owners daughter was 16 years old.
Chloe said that a ghost was prowling under the water and we didn't know if she was joking or if she was serious.
Bastien's little brother followed them everywhere.
They were all sleeping in Chloe's room.
There were bunk beds.
The kid listened to music all day long, his headphones on.
It allowed him to look at Chloe without seeming to.
Ah, Chloe, with her long legs!
She bathes at night.
He vomits because he drank red wine from the bottle.
Together, they have a contest: which of them will manage to bite their hand until they bleed?
It seems that the thing is impossible.
We learn a lot of details of this type, in
Falcon Lake
, this first film which is one of the most perfect stories of adolescence.
By adapting
Soeur
, graphic novel by Bastien Vivès, Charlotte Le Bon reaches the heart of the target, marvelously restores this period when everything is both possible and out of reach, when we despair of one day falling on someone who looks like you.
IN.
Read alsoOur review of Falcon Lake, by Charlotte Le Bon: water story
Our brothers
- To see
Drama by Rachid Bouchareb, 1h32
Rue Monsieur-le-Prince in Paris, a plaque recalls the memory of Malik Oussekine, a student killed by two police officers on the night of December 5 to 6, 1986 as part of the demonstrations against the Devaquet law.
The memory of his violent death remains vivid.
But who remembers that the same night another young Frenchman of Algerian origin, Abdel Benyahia, was killed in Pantin by a policeman?
Almost nobody.
Replacing Abdel next to Malik, such is the point of
Our brothers.
Rachid Bouchareb's film is therefore not strictly speaking a film about the Malik Oussekine affair, which so violently shook society and the political world in 1986 in a France in full cohabitation, but it sheds new light on it.
Our brothers
does not get bogged down in archival films - used here to recall the tension of those days - he focuses on men and their inner turmoil.
Starting with this character imagined by Bouchareb as the common thread that links the two cases.
IGS inspector Daniel Mattei (Raphaël Personnaz) is on duty that night when he is sent into contact with a father who is waiting for news of his son, injured during a brawl.
Mattei is brought to the juice.
The young man was killed by a drunken police officer as he intervened in a fight outside a bar in Pantin.
A few hours later, Mohamed (Reda Kateb) and Sarah Oussekine (Lyna Khoudri), worried about not having heard from their brother, end up going to the morgue to discover the unimaginable: the death of the rue Monsieur-le -Prince, presented by the media as a Lebanese Christian Phalangist, is Malik.
Rachid Bouchareb dismantles with finesse and without fuss the coarse ball woven in a hurry at the time in an atmosphere of intense cacophony to the top of the State.
FD
Read alsoOur review of Our brothers: the night of the 5th
Under the figs
- To see
Drama by Erige Sehiri, 1h32
Tunisian women, young and old, rest in the shade of fig trees.
It is their workplace.
We listen to their exclamations, their discussions of nothing at all which say a lot about their region, agricultural and heavily patriarchal.
Love affairs are tied between the baskets of fruit.
With their feet in these fields where they don't earn much, some teenagers - those who don't hide behind their veils - look towards the seaside resorts, from where the beautiful light that bathes the film seems to come.
To her actresses, non-professionals, the director who came from the documentary Erige Sehiri asked to remain themselves.
Their portrait is shimmering, sensitive.
He lacks a bit of breath.
It would be nice, for example, to go with them to see what these cities look like where they imagine their future.
BP
The Worst
- We can see
Dramatic comedy by Lise Akoka and Romane Gueret, 1h39
In the heart of the Picasso city, it's the commotion.
A film crew comes to set up to shoot a film.
In Boulogne-sur-Mer in the north of France, it is not uncommon to hear seagulls crying between two blocks of buildings.
Les Pires
begins as a rough-and-ready documentary.
Facing the camera, a Belgian director named Gabriel (Johan Heldenbergh, very fair and involved) conducts wild castings of children.
The kids parade.
The director is looking for children with “difficult experiences”, dropping out of school, children in foster care or leaving home… In short, most of them lost sheep, neglected by their parents, often dented by life.
Four will be selected for
To piss against the north wind,
highly improbable title of this feature film which would like to capture the misery of disadvantaged neighborhoods.
“Looks like you picked the worst!
“,
say the people of the neighborhood.
For their first feature film, Lise Akoka and Romane Gueret, former casting directors and children's coaches, play the card of mise en abyme between fiction and reality.
They follow in the footsteps of Truffaut, cheerfully mixing
The Four Hundred Blows
with
The American Night.
Everything could be overplayed, false, fabricated, and yet, this humanist chronicle of childhood exudes a scent of authenticity, a real sincerity that touches the viewer's heart.
OD
Read alsoOur review of the film Les Pires: for the best and for “the worst”
Maestro(s)
- We can see
Drama by Bruno Chiche, 1h27
With elegance and skill, filmmaker Bruno Chiche orchestrated the rivalry between a father and his son.
They are both musicians.
The father, Alexandre Dumar (Pierre Arditi, all in nuances, of an unprecedented sobriety), was a brilliant conductor who led his family and his life with the baton.
His big dream?
May La Scala in Milan offer him the post he has been coveting for forty years.
In the meantime, he attends in front of his television the award ceremony of his son Denis (played by Yvan Attal with conviction and naturalness), who once again receives a Victory for Classical Music and who dedicates this award to his father, absent from the room.
The two men haven't spoken to each other for a long time... Obviously, fate and a formidable misunderstanding will take care of bringing the virtuosos together.
Inspired by the Israeli film
Footnote
(2011), by Joseph Cedar,
Maestro(s)
plays his score flawlessly.
As you will have understood, this family opera composes a score centered on two discordant instruments and the orchestration of a filial contest made up of unsaid words, silence and regrets.
The lyrical universe serves as a setting for this lively dramatic comedy, even if it does not necessarily shine with a daring staging.
Because the major asset of Maestro(s) are its actors.
The pleasure of seeing them respond to each other, the syncopated rhythm of their altercations…
OD
Read alsoOur review of Maestro(s): the battle of the chefs
Puss in Boots 2: The Last Quest -
Avoid
Animation by Januel P. Mercado and Joel Crawford, 1h42
Shrek's most picaresque comrade in arms is back.
After yet another outfit made up of antics, songs and bluster, Puss in Boots (Boris Rehlinger for the VF, in the boots of Antonio Banderas) is slain.
Don't panic, though!
Like all cats worth their salt, the whiskered swordsman has nine lives.
But after eight accidents, the cat's next death could well be the last.
An encounter with a big bad wolf brings the feline hero back to his senses: he puts his boots back in the closet and retires to a shelter.
At least until the call of a last adventure.
Heartbreaking plot, unequal gags, abyssal music… an end-of-reign atmosphere hovers over this ill-inspired Dreamworks film, despite its nods to
Apocalypse Now
and
Mad Max: Fury Road.
Not enough to whip a cat.
CS
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