F1, 13 days 13 nights, Amélie and the metaphysics of tubes: new features in the cinema this week
What to see in theaters
The event
F1 The film ★★★ ☆☆
By Joseph Kosinski
Essential
By plunging an aging star (Brad Pitt) in a supersonic whirlwind, Joseph Kosinski applies the Top Gun recipe: Maverick at F1 and signs a blockbuster with big scriptwriting strings, but really exhilarating.
Brad Pitt embodies a former F1 prodigy child whose career was crashed in the 90s, called to the rescue by an old boyfriend whose stable is at the worst. And very quickly, we understand the ambition of F1 The film : This will not be a question here of surprising anyone, only of sending skillfully dosed adrenaline rushs, at the right time. Kosinski redeployed the magic formula of plane scenes there Top Gun: Maverick. This feeling of being In The race. From then on, we will forgive a lot to F1. His scenario, for example, which seems to have been written in a hurry on a corner of the office of his producer Jerry Bruckheimer, between two sequences of ultra-exhilarating races, shot in the heart of real Grands Prix, F1 Slalom 2h35 during between the worn archetypes, over a film that is both bicycle and heavy which provides the same kind of naive pleasure as reading of Michel Vaillant of the golden age – studied by a state -of -the -art technological arsenal. Brad Pitt uses his earthly, strong side, Yankee nourished with grain, a little macho on the edges – very Steve McQueen. And if we forgive a lot of things to this film, it is also thanks to him.
Frédéric Foubert
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First a love
13 days 13 nights ★★★ ☆☆
From Martin Bourboulon
Kabul, August 2021. The Taliban storm the Afghan capital and the story changes in thirteen days. It is this bloody parenthesis, that Martin Bourboulon chronic by adapting the work of Commander Mohamed Bida, with the instinct of a war reporter and Hollywood effects and changes robbers. We think of Flight 93 or at The fall of the black hawkthis way of transforming hot news into thrilling matters. But in a French version, where we are never afraid of feelings and where classicism would be the surest railing to avoid the traps of the genre (voyeurism or action without tail or head). For Bourboulon, history is not a pretext, but a tragedy. And to bring it incandescent, it was necessary an actor who weighs. We have it: all in muscle and raw intensity, Roschdy Zem infuses his Marmorean presence of a lyrical perfume. The exercise consisting in transforming into tension what the spectators lived live was perilous but Bourboulon signs a work which captures with accuracy and vibration the jolts of the contemporary world.
Gaël Golhen
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Amelie and the metaphysics of the tubes ★★★ ☆☆
De Liane- cho Han and Maïlys Vallade
If the cinema has already taken hold of its books (Stupor and corneau tremors…), It is the first time that Amélie Nothomb’s novel has experienced an animated adaptation. In this case the autobiographical account of the childhood of this little Belgian born in Japan and the influence of the Japanese servant of the family home who had taken her under her wing. Discovered in Cannes, this Amélie … is first of all a feast for the eyes. The work of the duo MailSs Vallade-Liane- Cho Han on the material, the flat colored evoking in turn the pastel or the gouache gives the feeling that their characters evolve within a succession of the table. A perfect setting for the story of the construction of this extraordinary personality in this Japan of the 60s, still deeply marked by the ghosts of Nagasaki and Hiroshima as the character of the owner of the house, suspicious of the Westerners suggests. A jewel.
Thierry Cheze
Reflection in a dead diamond ★★★ ☆☆
By Hélène Cattet and Bruno Forzani
In a palace on the Côte d’Azur, an old spy wonders if his former sworn enemies are not again after him. To counter them, he plunges back into the memory of his old exploits … Reflection in a dead diamond is the fourth film of the duo Hélène Cattet – Bruno Forzani, fetish explorers of the most exciting forms of the golden age of popular cinema in the 60s and 70s. After the Giallo (in Bitter And The strange color of your body tears) and the thriller revised in spaghetti sauce (Let the corpses tan), they are sounding here the memory of the sixties spy films, from James Bond to the Danger: Diabolik! by Mario Bava. Taking the form of a kaleidoscope, nourished by references to op art, the film questions the principles of hypnosis and illusion inherent in the cinema. Beyond the pleasure of esthete, it is also a question of wondering what this genre which bewitched the crowds received of macho violence, of submission to a deadly hedonism. At the same time in love and critic, experimental and ironic (basically, it is as if Satoshi Kon had produced a OSS 117), the film vibrates with an extraordinary cinephile life drive.
Frédéric Foubert
Once Upon a Time in Gaza ★★★ ☆☆
From Tarzan and Arab Nasser
A title in the form of a film epic. Unless it is for the twin brothers Nasser to assume the tale and thus distance themselves from a real which returns Gaza to its only status as a martyr city. By an anachronistic effect, the film begins with a recent projection of Trump who dreams of a gaza band in ” Côte d’Azur du Middle East The action of the story takes place well before, in 2007, the year which saw Hamas take the power of the enclave resulting in an isolation of the population. We follow a nice dealer, also the owner of a Falafel restaurant, ransomed by a corrupt cop. In the middle of the watchtower, a romantic young will soon be deprived of the right to dream. The good, the brute and the grip at Gaza would also have worked. The story skillfully mixes ironia and drama, severity and lightness until sanctifying and sacrificing one of its heroes by the absurd. Because yes, in this city folded in itself the life under bell forces juggling with its feelings.
Thomas Baurez
To the rhythm of Vera ★★★ ☆☆
Ido Fluk
If this somewhat passing title does not lie on the goods (it is a question of a vera and music), he hides the elephant in the play: the American solo pianist Keith Jarrett and his famous Köln Concert from 1975, an improvised trance become discographic hit (four million copies sold) This documented fiction reflects the course of a young German of 18 years (Véra! jazz who will dismember to convince the famous musician fleeing to perform at the Cologne Opera in front of an audience not necessarily conquered in advance. Everything plays against her: the only available piano is a wreckage, Jarrett (John Magaro) makes the point … of this story “Behind the Scenes”, Ido Fluk draws a dynamic and delightful fiction which avoids sacralization, as proof the famous concert is swallowed by an ellipse. It is Véra (Mala Emde) which imposes the rhythm of the whole.
Thomas Baurez
Under hypnosis ★★★ ☆☆
From Ernst de Geer
André (Herbert Nordrum, the “Crush” of Renate Reinsve in Julie in 12 chapters) and Vera (amazing Asta Kamma August) love each other, live and even work together on an application around female health. But the pressure rises to the approach of a seminar dedicated to startupers and supposed to prepare them to convince investors of the interest of their project. Vera takes the opportunity to try to quit smoking thanks to a hypnosis session that will crack the idyllic varnish: the young woman suddenly swaps her shyness for unexpected spontaneity and ignores social conventions … There is Ruben Östlund in this first film by the Swedish Ernst de Geer, who wonders about social roles (within the couple, impose. A comedy of perfectly adjusted discomfort, where the hollow discourse of tech and the male egos are atomized.
François Léger
Stranger Eyes ★★★ ☆☆
From SIEW HUA YEO
Death of anxiety since the kidnapping of their daughter, a young Singaporean couple begins to receive anonymous DVD of images which first linked to the case then gradually revealing their intimate lives. There is Hidden From Michael Haneke in this film-puzzle, successively told through different points of view which is seen month as a suspense on the child’s reunion only as a relevant reflection because rich in contradictions on a society placed under system of generalized surveillance cameras.
Thierry Cheze
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M3GAN 2.0 ★★ ☆ From
By Gerard Johnstone
We loved a lot M3gan First of the name, sarcastic variation on the theme of the evil doll, which sought as much to flank the scare as to satiate these parents who love sticking connected toys in the hands of their dear blond heads, in order to have peace. What to add to that? M3GAN 2.0 does not have much to say more and leaves the lands of the little horror film Blumhouse for those of the SF action, in a kind of variation in pleated skirt on Terminator 2. AM3LIA, a new, surplaying AI used as a mercenary by the American army, escapes the control of its designers. Gemma, the engineer of the first film (Allison Williams), then has no choice but to resuscitate M3gan, who hunted from Am3lia alongside the Gentiles. From jokes to action scenes, all that follows is very agreed. A bit of mischievous charm and spirit camp of the first film remains nevertheless in the dialogues of M3gan, which continues to swing punchlines Persifeling of his irresistible voice of a distraught cyber-poupée.
Frédéric Foubert
ANGEL ★★ ☆ From
Of Tony Gatlif
Ethnologist specializing in music and gypsy traditions, Angel (Arthur H, amazing) undertakes a trip through France to find a friend to whom he owes money. And on the way, will cross men and women lost to sight and will even discover a hidden girl who will accompany her … This musical road movie is fully part of the work and the universe of Tony Gatlif, the man of Gadjo Dilobut without bringing an original touch. And this air of deja vue abyss the pleasure taken before these joyful wanderings, tinged with an emotion never feigned.
Thierry Cheze
The recovery The thirst for evil, from Orson Welles
