A perfect unknown, Slocum and I, the Thief Pie: News in the cinema this week
What to see in theaters
The event
A perfect stranger ★★★★ ☆
By James Mangold
Essential
Bob Dylan, his music, his genius, his mystery, explored in a biopic that avoids the clichés of the genre but not his pleasures: the songs that make shiver, the epiphanies that capsize, and the performance of actor who leaves a mouth.
“” A perfect stranger »: Extract from the words of one of the most emblematic songs of Dylan (Like A Rolling Stone), the title of this film evocation of the singer’s sixties sixties years of New York takes the place of a roadmap in the script-it is in perfect unknown that a beautiful day of 1961, in the small bohemian circle of folk lovers Music, this kid from Minnesota. And that’s how he will leave the film, four years later. Very aware of the formidable shots that threaten the biopic, the director James Mangold has taken care not to approach his subject from the angle of the founding scenes and the turnkey psychoanalytic explanations. Copped vintage patina, light scope format that electrifies immediately, casting scotout (Edward Norton, Elle Fanning, Monica Barbaro, second roles all stunning), and Bo Best-inf plethoric, impeccably sung by Chalamet, Mangold mixes anecdotes and privileges Historical shortcuts to tell, not so much Dylan himself, that the effect produced by his music on those who listen to him and cross his path. And in front of his camera, Timothée Chalamet is brilliantly elusive, distant, changing, fleeing, almost blurred physically connected with the idea that one cannot entirely “capture” Dylan, that one cannot put your genius in bottle.
Frédéric Foubert
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First like a lot
Slocum and me ★★★★ ☆
Of Jean- François Laguionie
In just 75 minutes, Jean-François Laguionie (Louise in winter) manage here to make three different stories dialogue. That of François, a 11 -year -old kid who grew up on the banks of Marne in the 1950s and learns that he is not the natural son of his parents. That of the passion of François’s father for Joshua Slocum, the first sailor to have achieved a solo sailboat tour at the end of the 19th century, to the point of getting started … in the construction of a replica of his boat 11 meters in his garden! And that of this Slocum, an outstanding adventurer over his feat which spanned over three years. The result is sumptuous. By the quality of the animation work where one perceives with each plane the raw line of the pencil and which plays so well with the shadows and the lights. And in this way of telling the past by avoiding any rancid melancholy.
Thierry Cheze
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One night at the zoo ★★★★ ☆
By Ricardo Curtis and Rodrigo Perez-Castro
Simple, basic. An alien virus transforms animals from a zoo to zombies. At the origin of the film, there is a short story by Clive Barker. But yes, he is the author of texts as gore, poetic and tortured as Hellraiser,, Imajica Or Midnight Meat Train we are talking about. That the parental leagues reassure themselves immediately, the cinema version is perfectly suited to young audiences. Better than that: it is animated cinema of very first quality that we are talking about. A 3D that has substance, a soundtrack that has a face, characters who have style, a universe (the zoo) between Cuphead And The Thing de Carpenter… The film has a remarkable flair to wrap all these references in a coherent, as flashy as it is impactful. Cinephile adults, these old animals, can say “been there, done that”; The youngest will be content to ignore them and will take a hell of a foot. And they will be right.
Sylvestre Picard
First a love
The Thief Pie ★★★ ☆☆
By Robert Guédiguian
The very thieves (Ariane Ascaride) which gives its title to this film is assistant at home for more or less old people. A nice confidant rounds the angles and end of the month on the back of the people in charge of. The drama gently weaves his canvas around men and women who form the human comedy dear to the cinema of Robert Guédiguian. Everyone has their reasons. Maybe, but that is not enough. The filmmaker carries the Renoirian axiom at arm’s length to reaffirm his vision of a fairer world where the error is corrected. And the beauty of the gesture holds in this anti-spectacular way (staging to the sovereign searcher) but effective (it will quickly) to keep a spectator who is never taken for a tourist.
Thomas Baurez
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Sing Sing ★★★ ☆☆
From Greg Kwedar
Insteady, John “Divine G” Whitfield (Colman Domingo) is at the heart of a reintegration program by the theater. And one day takes the risk of welcoming a dealer into the troop whose presence will shake up the dynamics of the group. Together, they will write and mount an improbable piece mixing ancient Egypt of the gladiators, Freddy Krueger and even Hamlet. Their room is a capsule to forget the violence of the mitard and escape from the animal factory. It is above all an artistic and human epic that gives the film its emotional power, all the more strong since most of the roles are held by former prisoners beneficiaries of the program, all brightly bright. Beautifully photographed by Pat Scola, Sing Sing oscillates between tension and emotion, magnified by the hallucinating partition of Colman Domingo.
Gaël Golhen
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LEARN ★★★ ☆☆
By Claire Simon
The school environment fascinates Claire Simon. After Recreation (1992) and First solitudes (2018), she set up her camera in a public elementary school in Ivry-Senine, whose students are largely born from immigrant parents. With this always intact ability to film up to children, never overlooking them with her adult gaze, the director attacks received ideas on school, a source of fantasies because prohibited for external eyes, once its closed doors. Compared to excellent recent documentaries on the subject (Red Castle …), it does not revolutionize the genre. But it shines to show with as much acuity what is fine (the involvement of teachers, the solidity of teaching …) as what stuck: the tensions that rise as soon as the conversation comes on the subject of religion or violence between students. All without looking for a balance that does not exist at all costs. A film of public utility.
Thierry Cheze
Julie is silent ★★★ ☆☆
By Leonardo Van Dijl
In an era where the words of victims of sexual and sexist violence unfolds, there will always be gray areas. Faced with the accusations brought against his coach and the repeated incentives to testify, Julie, a rising tennis star, chose silence. By marrying Julie’s point of view, Leonardo Van Dijl seizes the fragment of a life, the silent reconstruction of an interior house, the past storm. He patiently observes the mask that crashes, and the grip that is defeated. Slowly, but without lengths, with hindsight, but no coldness, Julie is silent Reminds the brilliant How to have sex by Molly Manning Walker who addressed the question of consent without retreating in the face of the complexity of the subject, but also, in another register, Olga by Elie Grappe, on the difficulty of bringing out the policy of the sports environment.
Léon Cattan
The Zen garden ★★★ ☆☆
From Naoko Ogigami
Mother of a now adult child, Yoriko lives alone and leads a very orderly existence. But when her husband returns home after several years of absence, this apparently Zen wife (and follower of a religious cult) sees his disturbed tranquility: does this man who had abandoned her deserves his compassion? Under falsely calm, the Japanese Naoko Ogigami succeeds in a furious social satire where the heroine, embodied by the explosive Mariko Tsutsui, is released with jubilation of macho traditions.
Damien Leblanc
The sea and its waves ★★★ ☆☆
Of Liana and Renaud
According to the footsteps of a young woman and a musician who cross Beirut on a full -moon night in order to join the other side of the sea, Liana and Renaud sign a first feature film with lightning poetry. Obsessed with the image of an old lighthouse nestled in the middle of modern skyscrapers, the duo of filmmakers stages a touching gallery of characters and exalts the vibrations of a Lebanese capital plunged into the dark but still inhabited by Dreams of light.
Damien Leblanc
Find these films near you thanks to First Go
First a moderately love
Companion ★★ ☆ From
Drew Hancock
Director Drew Hancock was noticed in 2022 as a screenwriter of the horror film-phenomenon Barbarouson an airbnb stay that turns into a nightmare. Companion It takes place in a sumptuous remains hidden in the middle of the woods, which seems to confirm a certain interest of Hancock for real estate. And especially for sublet, as his film seems to live in the memory of other films-all this recent wave of horrifying fables.Ex Machina has Black Mirrorpassing by Don’t WORRY DARLING. With also ends ofUS,, Midsommar And Blink Twice inside. First crushed by references and aesthetic shots (the contrast between horror on the screen and nice lounge music in soundtrack), this story of the revolt of a sexual robot against its toxic owner ends up finding his little singularity , and to have a little fun, when he decides to be frankly turned into the stupid and nasty massacre game.
Frédéric Foubert
A violent world ★★ ☆ From
Maxime Caperan
Two storey brothers turn a cargo of smartphones. But the breakage turns badly, a man is killed, and the criminal siblings will tear himself away, while the vice of the cops is tightening … For his first feature film, Maxime Caperan tries a tragic thriller at the James Gray. The performances of Kacey Mottet-Klein and Félix Maritaud are solid, but we regret that the social background is only brushed in large lines, and that interesting secondary characters are abandoned along the way, giving the whole A taste of unfinished.
Frédéric Foubert
April ★★ ☆ From
Of dea kulumbegashvili
The subject is strong (a Georgian obstetrician that rumor accuses of practicing illegal abortions after the death of a newborn baby during childbirth), the staging of great plastic beauty. And yet boredom is watching over this second long long of DEA Kulumbegashvili (In the beginning) because of an artificially stretched scenario and on the side of its staging, drifting its effects by ignoring any effort of transmission. The “Festival film” par excellence, necessarily rewarded at Mostra.
Thierry Cheze
And also
The choice of pianist, by Jacques Otmezguine
Leaving school, we have the world !, short films program
Eclipse day, by Guy Marignane
The recovery
The house and the world, of Satyajit Ray
