Retirement home 2, Without ever knowing us, Bob Marley: one love: What’s new at the cinema this week
What to see in theaters
THE EVENT
RETIREMENT HOME 2 ★★☆☆☆
By Claude Zidi Jr.
The essential
Kev Adams does it again with his old French comedy curmudgeons.
When the film begins, we discover that the retirement home from the first part is threatened with closure. Milann (Kev Adams) then decides to embed the residents in another nursing home and encounters two problems: firstly the delicate mix between his team of old hands and the new veterans (Chantal Ladesou, Jean Réno, Enrico Macias….) . Then – and above all – the confrontation with the director of a nursing home company more interested in money and profits than in the well-being of its constituents.
MDR 2 uses the same strings as the first. Starting with the regressive jokes, a little game in which Jean Reno takes the most advantage of the situation. But we are at the cinema, and we need a story or a meaning. And MDR 2 once again delivers life lessons, even a moral, a bit marshmallowy. Even if he adds two particularities to this cocktail: an ending in the form of a scam Ocean’s eleven morning of Queen’s game and this impression that Kev plays here at the Ringmaster, first of all thinks collective. He seems to watch his actors enjoy being delirious.
Peter Lunn
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PREMIERE LIKED A LOT
WITHOUT EVER KNOWING US ★★★★☆
By Andrew Haigh
Adam (Andrew Scott, masterful) lives in a London tower block that most of its residents seem to have deserted, with the exception of a mysterious neighbor (Paul Mescal, impressive) with whom he is about to begin an affair. Haunted by memories of his past, he returns to the suburbs where he grew up and discovers that his parents, who died 30 years ago in an accident… still occupy the place, allowing him a discussion with them that he does not never could have. This porosity between the real and the supernatural opens up the field of possibilities for a feature film impossible to reduce to a single genre, all at once a family chronicle, a variation around mourning, a great love film and a powerfully political work around homosexuality and the deep loneliness that you can experience as a queer child and which never leaves you. Haigh lets the viewer pull their own thread to experience the story in their own way. But his extreme sensitivity allows him to achieve a tour de force here: a warm work around a trauma, devoid of any sentimentality, populated with pop songs with a heartbreaking emergence and casting a spell on archetypes.
Thierry Cheze
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FIRST TO LIKE
LIVING ★★★☆☆
By Alix Delaporte
Alix Delaporte (Angela and Tony) marks here the end of a world, that of investigative journalism. Because on French TV, the quest for sensationalism and this “proximity” so dear to advertisers have considerably reduced the very notion of “field”. So the heroes of Living, journalists for a once prestigious reporting program are like relics, desperate to run slow, or even empty. It will take the gaze of an external element to reveal the buried beauty, in this case, that of Gabrielle (Alice Isaaz), dropped into a team of “veterans” that she dreams of joining. And the film hits the nail on the head in this way of considering their office-jar as much a refuge (living and resting space) as a prison (place of stagnation) while once outside, the protagonists trample or are even prevented to move forward.
Thomas Baura
20,000 SPECIES OF BEES ★★★☆☆
De Estibaliz Urresola Solaguren
Thierry Cheze
RED female dog ★★★☆☆
By Yamina Zoutat
Like these red dogs who follow the traces of blood in search of wounded game, Yamina Zoutat goes hunting. With this documentary, this former court reporter obsessively tracks blood following a long-repressed frustration: that of the ban on showing it during her investigation into the 1999 contaminated blood trial. Through this simple fluid, the director evokes AIDS, blood chimerism between donor and recipient, but also the violence associated with it, with a particularly graphic reconstruction of the 2015 attacks and its bloody flesh. In form, she experiments. Basically, it evokes the extent to which blood is loaded with history and identity issues. As vulnerable as radical, female dog of red summons the intimacy of bruised bodies and encourages, with great delicacy, to listen to those who have suffered.
Lucie Chiquer
DARK NIGHT IN ANATOLIA ★★★☆☆
By Özcan Alper
It is a story that continues in the shadow of a dead man. After seven years of absence, Ishak returns to his native Anatolian peninsula to watch over his sick mother. A tall guy with a dark look, he seems to carry the guilt of an entire village on his shoulders alone. From flashbacks to nightmares, Özcan Alper gradually puts his viewer on the trail of the missing person. His name was Ali, he had light eyes and blond hair like a Visconti blond angel. He was different from the others: well-read, ecologist and probably too delicate to be a real man. Variation of As Bestas of Rodrigo Sorogoyen in form, Dark night in Anatolia is served by its sumptuous photography and its very accurate portrait of rural Turkey. The filmmaker takes a raw look at these remote and foggy territories from which no one leaves or comes. These enclaves where difference is a defect, where obscurantism and virile reflexes rule.
Emma Poesy
ROSE, LITTLE FLOWER FAIRY ★★★☆☆
By Karla Nor Holmbäck
Rose is an adorable little fairy. Let’s specify: a flower fairy. Dressed in a dress in the shape of a bud and equipped with a magic wand, our heroine travels through an enchanted clearing every day. In the morning, she makes the flowers of the rose bush where she lives bloom before closing them at nightfall. But despite this bucolic and enchanted existence, Rose feels sad. Rather, she feels alone. One day, due to a misunderstanding between several inhabitants of the clearing, the fairy meets a butterfly, Satin. A new friend, the beginning of happiness. But unlike Rose who is fearful, Satin is fearless. Because of his recklessness, the butterfly will be captured by a monster. It’s up to Rose to go and rescue her. Behind its childish appearances, the little fairy tale imposes a refreshing narrative: two little girls focused on friendship rather than love.
Emma Poesy
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FIRST TO MODERATELY LIKED
BOB MARLEY, ONE LOVE ★★☆☆☆
By Reinaldo Marcus Green
What is striking about this Bob Marley, one love, this is how the film is defined by its shortcomings – we are constantly left wanting more, as the film seems to carefully avoid any risk of roughness by erasing as many passages as possible. Basically, the film will not surprise fans of musical-pie biopics, over-locked by the entourage of the idol concerned, Bohemian Rhapsody style. The film alternates a double structure (the story of youth and a key concert) which recalls that of Walk the Line, except that the story of Bob Marley Begins ends after a while for no reason. We won’t see much of the astonishing musical broth of 50s Jamaica in which young Marley grew up, nor will we capture the source of his musical genius. Rather than attempting to invoke the voices of the dead, the film expresses the official voice of the survivors. It’s difficult, that said, not to vibrate when the music fills the cinema, channeled by Kingsley Ben-Adir – a completely jaw-dropping performance but really inhabited by the actor, fully invested in his role, right up to the erasure. Thanks to him, one Love captures a bit of the mystique that guided Marley in his art and in his life.
Sylvestre Picard
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THE IMAGINARY MOLIERE ★★☆☆☆
By Olivier Py
Taking place entirely on the evening of February 17, 1673, this film directed by the playwright Olivier Py relates the last hours of the life of the illustrious Molière, assuming a part of invention. Present on the stage of the Palais-Royal theater where he himself performs his play The Imaginary Sicke, Molière finds himself at the heart of a whirlwind of affects to be resolved behind the scenes with his troupe of actors. Wishing to depict creative urgency and the fine line between art and death, Olivier Py offers a form made up of sequence shots and agitated flashbacks. But if the garish colors and the desire to film theatrical artificiality may evoke the cinema of Peter Greenaway, this mise en abyme of the tragic farewell to the genius of Molière cruelly lacks emotional impact. And despite the energy of Laurent Lafitte in the lead role, the whole thing turns too quickly into an exercise in fixed style.
Damien Leblanc
FIRST DID NOT LIKE
DOG AND CAT ★☆☆☆☆
By Rheem Kherici
On paper, there is indeed an interesting cinema idea at the base of Dog and cat : tell in a cartoon style the hunt of a feline-canine couple by delusional humans (a fake blind person, an influencer and a super-cop) to find a ruby stolen from a museum. The models are there, undeniably: Crazy for Irene, The pink Pantherthe American cartoon… But the film obviously only seems to be aimed at very, very young children, or very, very indulgent: the gags are rare and repetitive, Lacheau does the same super-Clouseau act as In Nicky Larson Or Thirty days max, the SFX animating the dog and the cat are more “work in progress” than anything else… Too bad! There remains Dubosc, hilarious as a burglar who pretends to be blind, who shows us that the legendary creator of Patrick Chirac is currently at the top of his game. game.
Sylvesbe Picard
And also
Survey- you and go by Zohar Wexler
Madame Web by SJ Clarkson
Thinking about tomorrow by Olivier Goujon
THE Tlost resource by Stéphane Garrigues
