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Great Expectations, Le Bleu du caftan, Sur les chemins noirs… Which films should you see or avoid this week?


A couple finds themselves involved in an altercation that turns tragic, a man married to a woman hides his homosexuality, a travel writer promises to cross France on foot... The cinema selection of Le Figaro.

Great Expectations


Must See

Drama by Sylvain Desclous, 1



Antoine took his girlfriend on vacation to her father.

Madeleine is pure and exalted.

Ecologist and feminist, she has it all.

He is weak and obedient.

We will have proof of this during a dinner where the young girl shakes the guests with her direct, fiery remarks.

Normally, at the great oral of the contest, it should be a hit.

It will take nothing, a stupid middle finger addressed to a native that is overtaken on the road, for things to change.

Antoine fights with the local motorist.

Result: one death.

Brief moment of panic: the couple decides to bury the weapon in a grove and not to tell the police.

This secrecy will rot their relationship.

Sylvain Desclous reconnects with political cinema, signs a clean, efficient, flawless film.

We show the small compromises,

masculine cowardice, compromises with the truth.

The frail and balding Benjamin Lavernhe is distraught, fleeing like hell.

It's not easy to stand up to this Rebecca Marder who is invading French screens with a passion, a serenity, a naturalness that confuse.

She understood that talent, like youth, was a risk to run.



The Blue of the caftan




Drama by Maryam Touzani, 2h03


Le Bleu du caftan

, her second multi-award-winning film around the world, Moroccan filmmaker Maryam Touzani is making a name for herself.

The inspiration came to him from a chance encounter.

“I met this wonderful man quite by chance in the medina of Casablanca in the summer of 2019

, remembers the young woman


Thanks to him, I wanted to explore the way in which one can experience the weight of the unsaid through a love story.

 The film, shot in seven weeks, plays with finesse on the shadows and light that bathe the alleys of the medina.

“Right now, it's getting harder and harder to find kaftans of this quality.

The transmission between the generations has broken down.

This is also what the film is about.


is with the same modesty and gentle determination that the director manages to talk about homosexuality.


Read alsoIn Morocco, the pre-selection for the Oscars of Bleu du caftan brings hope for a dialogue on homosexuality

On the black paths


To see

Drama by Denis Imbert, 1h35

It's a truant film, like an escapade that offers viewers a break from the incessant din of the world.

Jean Dujardin takes on the role of the travel writer Sylvain Tesson with enough naturalness to appropriate it, without forgetting to move away from the model, while respecting his philosophy.

The roaming of the character on the discreet and little frequented paths, the famous black paths on the IGN maps, takes the form of a personal way of the cross.

Dujardin exposes his bruised face on the big screen, the scars of which draw a howling map of his suffering.

He occasionally travels with loved ones (Joséphine Japy, Izïa Higelin, Anny Duperey, Jonathan Zaccaï or Dylan Robert) as with chance companions.

On the dark paths

invites you to take to their heels in the heart of this France with its harsh landscapes filmed in a visceral and sensory way.

We come out reassured, with ants in our feet.


Read alsoJean Dujardin and Sylvain Tesson, at the crossroads of dark paths

Chile 1976 - We can see

Drama by Manuela Martelli, 1h40.

Close-up on a can of blue paint, to which the shopkeeper is adding a touch of pink... Suddenly, in the street, shouts, a detonation, cries, and the sound of a car starts with a bang.

The camera remained frozen on the bucket of paint.

In the drugstore, everyone stopped.

Then life resumes its course as if nothing had happened.

Three years after Pinochet's coup, the heroine of

Chile 1976

Carmen is in charge of supervising the renovation of the family house by the sea. She was the one who did her paint mixing in the shop... She tries to ignore the establishment of the dictatorship.

But one morning, Father Sanchez, the old priest who has known her for many years, asks her to take care of a young stranger whom he is secretly harboring.

The elegant bourgeois housewife finds herself gradually drawn into illegality and secrecy in a universe so far removed from her quiet bourgeois life... First feature film by the Chilean director and actress Manuela Martelli, Chile


is as much a historical drama about the dark hours of the Chilean dictatorship as it is a thriller full of suspense.

At the center of the plot, Carmen (magnificently embodied by Aline Küppenheim), allows the viewer to identify with the diffuse drama that has invaded their country.

Awareness is gradual, but real.

By small successive touches, the blackness of the lid does indeed appear, obscuring the Chili.

As if the paint pot at the beginning of the film darkens as soon as you mix it...


Eternal Daughter



Drama by Joanna Hogg, 1h36

The Center Pompidou has just devoted a retrospective to British filmmaker Joanna Hogg.

The opportunity to review the superb diptych

The Souvenir Part I & II and discover his first unreleased films in theaters, already shown in La Rochelle in July 2022. Unrelated





(2013), are each in its own way a subtle x-ray of the couple and the family.

Her new feature film,

Eternal Daughter

, takes up this theme with less finesse and more Tilda Swinton.

His favorite actress plays the role of Julie, a filmmaker in her fifties, and that of her mother, Rosalind.

The two women stay in an isolated hotel in the English countryside.

The doors creak, the windows slam and Swinton plays around, playing back to herself through shots and reverse shots.

The mystery of this double game dissipates quite quickly.

Remains a rather hollow conceptual object.


Source: lefigaro

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