Mickey 17, in Nguyen’s cuisine, Kheops’ secret: new features at the cinema this week

Imagine for a moment that death is just a simple bureaucratic glitch, a setback set in a few hours of 3D printing. It is the exciting beginnings of Mickey 17. On the planet Niflheim, the “Expendables” like Mickey are the last link in a perfectly oiled operating chain: human scouts sent in recognition, reprinted after each death to continue their mission. This beginning could be only an additional dystopian style exercise, but in the hands of Bong, it becomes a political fable of a fairly enjoyable ferocity. Robert Pattinson, impressive of precision, therefore embodies 18 different versions of the character. It is he who by a simple rise of eyebrow or a change of tone makes the gender film in genre. But if the actor thus seems to the controls, we are well with the author of Parasite. And as in SnowpiecerBong uses the framework of science fiction to deploy a literally hardcore social criticism. Mickey 17 Strikes with its balance between existential horror and black humor. And There is less a film on the future than an allegory of the present, where human life has become a variable of adjustment in the profit equation.

Pierre Lunn

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First like a lot

Legend of the Condor Heroes: The Galling ★★★★ ☆

Of tsui hark

We are in China, 1000 years ago, in the heart of a conflict between two clans, those of the steppe and those of the plain. Born among the Jin but raised among Mongols, our hero Huo Jing tries to live his love story with Huang Rong, guardian of a sacred martial arts treaty that the evil Venom of the West wants to seize … Condor Heroes So carbide in romance, love, attraction and repulsion between its contrary forces. The film scrolls the places, the battles and the years, sometimes bordering on the crash by dint of making loopings in rase-locks. But what a magnitude of crazy, what a mastery on the part of Tsui Hark, even in its most breaked moments! And just like in the splendid trilogy Detective Deethe apparent malice and the pure pleasure caused by the fight scenes never obscure the political horizon of the film, where the heroes fight to avoid a great war and refuse the vain glory caused by the massacres. SO, Legends of the Condor Heroes: The Gallingthe blockbuster of the year? Come on, we are only in March.

Sylvestre Picard

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First a love

In the Nguyen kitchen ★★★ ☆☆

By Stéphane Ly- Cuong

Yvonne Nguyen is of Vietnamese origin and dreams of a career in musical. Except that her mother preferred that she decided to resume her restaurant in the Parisian suburbs … Inspired by her double cultural heritage, the French Stéphane Ly-Cuong (whose parents are Vietnamese) adopts a diet of pop and tangy images which sometimes recalls that of Drama queensbut applied here to a matter of quest for identity … and food. One does not go without the other for the director, who uses the kitchen as a place of reconciliation and return to the roots. No anger here, or almost: the film carbides with sweetness and optimism, with its playful musical numbers (ah yes: it is also a musical, which enjoys clichés of the genre as much as it diverts them) and its burlesque sequences. Beware, the song of the Nems will take you a few hours in your head.

Boris Malaine

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Black dog ★★★ ☆☆

By Guan Hu

We are in 2008, in a quasi-fantal city near the Gobi desert, emptied of part of its inhabitants but invaded by dogs, some of which may have rage. The film begins when Lang, a former rocker, returns home after serving a prison sentence for a mysterious homicide. He will soon bind his destiny to that of a wandering greyhound. The wind blows, the camera captures desert landscapes with hypnotic panoramic blows, the atmosphere sails between thriller, western and post-apo. Guan hu (The 800 brigade) borrows from his godfather Jia Zhang- Kee (who plays in the film) the desire to mix the very large with a very small one, the lives of a handful of almost motionless characters with the telluric movement of China in the background-a country in the process of propeling itself in the future, but forgetting some of its inhabitants on the side. The themes are classic, but the plastic power impresses – even more when, thanks to two pieces of Pink Floyd, the film takes off in lyrical and almost cosmic scrolls.

Frédéric Foubert

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The Victoria system ★★★ ☆☆

From Sylvain Desclous

This adaptation of Eric Reinhardt’s novel stages a love story as unforeseen as they are passionate that is formed between the director of works of a defense tower and the HRD of a large multinational, seductive, manipulative whose taste for freedom without hindrances will make this man without history, idealist fascinated by his exact opposite, ready to achieve his ends. Damien Bonnard and Jeanne Balibar shine by their way all in finesse to embody this shock of opposites and through this link as dangerous as it is fatal, Desclous, end observer of French society and a certain class struggle which has never completely extinguished (from Seller has Great hopes), sign a perfect parable of capitalism and liberalism which, pushed to their extreme, sweep everything in their path, including the purest and apparently incorruptible minds.

Thierry Cheze

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Bananas goose peaches ★★★ ☆☆

By Marie Losier

Her name is Peaches. A Canadian rock singer who has become a queer and feminist icon in the 2000s thanks to her openly sexual titles and her concerts where she dynamites all taboos with a sharp sense of provocative ‘. Björk invited her to make his first part, we can hear her in the BO of Lost in Translation… And recently, no less than two documentaries have been devoted to him: Teaches of Peachespresented at the Berlinale 2024 and this bananas goose peaches Signed Marie Losier (Cassandro The Exotic!). Inhabited by her subject, the director perfectly reconstitutes in images the exaltation of the concerts, the no-limit side of this extraordinary artist. But she succeeds in marrying them with moments “unplugged”, tender, enveloping peaches with her sick sister, her parents … A dialogue of extreme fluidity between situations at the extremes of each other who tells this scene of stage which has never dropped the affair as close as possible and the fairest.

Thierry Cheze

Nile girls ★★★ ☆☆

From Nada Riyadh and Ayman El Amir

Fruit of four years spent in the company of a group of Egyptian young girls who practice street theater, this documentary – rewarded with the Golden eye at the last Cannes festival – Strikes immediately by the splendor of filmed situations. In their village 200 kilometers from Cairo, the heroines chain spontaneous performance to denounce in the heart of public space the injustices they undergo and the camera observes the spectacular interactions with passers -by captivated or indignant by this feminist expression. But the film is also distinguished by immersion in the families of these young girls where a real diversity of configurations appears. Behind an apparent aesthetic repetition thus outcrops a deep melancholy. Because if the heroines gradually abandon the theater, remains the unalterable power of these moments experienced to experience together the emancipatory virtues of art.

Damien Leblanc

Brujeria- witchcraft ★★★ ☆☆

By Christopher Murray

For his third long, Christopher Murray mixes historicity and magic based on a trial which took place in 1880 in Chile, on the island of Chiloé. Produced by Pablo Larraín, Brujería – Witchcraft Follows the character of Rosa Raín (admirably interpreted by Valentina Véliz), a young girl in search of revenge after her father, from the Aboriginal community of the Huilliche, was cruelly murdered by German settlers. Her meeting with a mysterious organization of natives allows her to take note of both her true identity – she breaks with Christianity of her masters – and unsuspected powers. Witchcraft then becomes a political act, making it possible to do justice in the face of oppression and colonialism. A promising generally well executed idea, despite some lengths and a lack of punch. The beautiful plans tinged with gray are not always enough to transport us.

Lisa Cake

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First a moderately love

Kheops’ secret ★★ ☆ From

By Barbara Schulz

A wonderful theater actress, Barbara Schulz had too rarely access to roles worthy of her talent in the cinema. Passing for the first time behind the camera, she chose not to write a tailor -made character and to focus on her work as a director. On the program: an adventure film in the footsteps of the treasury of the pharaoh Khéops in the footsteps of an archaeologist, his daughter and his grandchild. We find in her main female interpreter, Julia Piaton, the major asset of this film, this sparkling which is the trademark of Barbara Schulz. But to be too educational on Egyptian mythology, the story tends to lose this rhythm essential to the genre. A feeling exacerbated by the one man show by Luchini (his nth imitation of Johnny!) Who will delight his fans but gives the film of the tunes of already (far too) seen who undermines the energy as generosity.

Thierry Cheze

Anna ★★ ☆ From

Of Marco Aventa

A young Sardinian farmer tries to preserve the small family farm. Until the day of imposing works poison his life. Earth pot with iron pot. On the one hand the passion of a superheroine guaranteeing a secular lifestyle, on the other the expansionist dreams of real estate developers. Marco Amenta (The Sicilian) presents the dolorist vision of a story that would like to be alive and irreproachable but appears, unfortunately, far too manufactured and moralizing.

Thomas Baurez

And also

Eject, Cayes Casastiburce

In the Lost Lands, by Paul WS Anderson

The covers

Me, Christiane F, 13 years old, drug addict, prostitute … Uli Edel

Porchie, by Pier Paolo Pasolini

Amélie’s journey… Amelie Rennt, by Tobias Wiesmann