The fantastic 4: first steps, dangerous animals, pooja, sir: new features in the cinema this week
What to see in theaters
The event
The fantastic 4: first steps ★★★ ☆☆
From Matt Shakman
Essential
If the first tests on the big screen were disastrous, the historic Marvel Quartet has the right to a new chance. Surprise, it’s very successful.
We are first surprised here by the line of the line. The retro assumes, a card announces “earth: 828” but we are lying, these are the sixties where The Fantastic 4 – A couple waiting for their first child, a brother -in -law and a best friend – are a little alone in the world with a perimeter of action reduced at the start to a magnificent penthouse with high tech design. Before having to work to save a humanity threatened with extinction by a gluttonous giant who wants to take hand on their … newborn! Matt Shakman’s camera (Wandavision) Do not play elbows, there remains in its good place the look in the retro of the original comics to its final Godzillesque of an amazing beauty (and sobriety) visual. This film, despite its shiny blue grinding black. Sourky sixties with a reflection not so distant. Shakman goes so far as to quote the 2001 From Kubrick marrying the beauty of the vessels playing Russian dolls. It is perhaps this innocence that was lost on the way in super-hero films in general and Marvel in particular. And that this narrative and aesthetic retropedage of franchises is trying to find. Vintage, retro, perhaps, but not react ‘, these 4 Fantasticlucids on themselves, re-enchant a tired imagination. Let’s take advantage before our friends are swallowed by barley Avengers As the promotional post-generic scene suggests.
Thomas Baurez
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First like a lot
The Things You Kill ★★★★ ☆
From Alireza Khatami
A thirty -something literature teacher, Ali teaches Western classics to jaded students when it all starts to disintegrate around him. His wife wants a child he cannot give him, his father openly despises him, his grabatory mother claims constant care. It is the beginning of a vertiginous mental odyssey that Alireza Khatami (Chronicles of Tehran) Orchestra with the precision of a evil watchmaker to dissect the cogs of patriarchal violence. Visually, it’s Kiarostami reviewed by Lynch. The image blurred and refocals, the camera pitch as after a laborious awakening and each gesture takes on surrealist meaning. And, basically, what Khatami stages is a (disturbing) reflection on the toxic transmission of masculinity. He borrows from art cinema and essay his formal codes while questioning his cultural heritage. It’s chilling and spectacular, Turkish cinema holds its Shining anatolian
Gaël Golhen
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First a love
Dangerous animals ★★★ ☆☆
From Sean Byrne
And if you were told that Dangerous animals Is it simply the best shark film with a serial killer? Admittedly, the competition is weak, but the promise is attractive and kept from start to finish by this real good B series, solid, joyful and perfectly aware of its status. The story is without fuss: an intrepid surfer is kidnapped by a serial killer obsessed with sharks. Sequestered on her boat, she will do everything to try not to serve as a dinner for the squales … The bases are laid in a few minutes with effectively drawn characters. Byrne, supported by a licked photograph, uses the slightest corner of the rafiot to create tension and gives life to very playful scenes, where he unravel shots and expectations. We constantly feel the love of the genre but everything is skilfully thought of to raise the film at the upper level. Without doubt the coolest session of your summer.
François Léger
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On days coming ★★★ ☆☆
From Nathalie Najem
While she recovers a toxic relationship that has rotted her life and that of her daughter, Laura sees barely buried traumas in her life when her ex’s new girlfriend, also victim of a devastating hold, calls her for help. For her first long, Nathalie Sajem signs a story that is both relentless and devoid of any manicheism on domestic violence. Where Bastien Bouillon translates by his freezing interpretation all the moral and physical violence of stifling situations that the filmmaker always films at a good distance, without ever forcing the line.
Thierry Cheze
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Pooja, sir ★★★ ☆☆
Deepak Rauniyar
A female cop in a police staff made up of 95 % men. A woman loving women, with a short haircut who, calling herself sir, deny her kind to be as transparent as possible. So much for the central character of this film (which recalls the excellent Santosh Released in the summer of 2024) which is responsible for a kidnapping case in a small town in Nepal. Never trying to westernize his point to make his film exportable, Deepak Rauny plunges us here in the many tensions between community that this mini-state includes around sixty ethnic groups and caste, without fear of losing us. Because aware that his fascinating main character and his way of always silence his doubts will serve as a red thread for an exciting intrigue because remarkably balanced between police investigation, queer story and carried a country plagued by corruption.
Thierry Cheze
Sorry, baby ★★★ ☆☆
From Eva Victor
In front of and behind the camera, Eva Victor signs an exciting, captivating, confusing film (which closed in style the fifteen of the Cannes filmmakers 2025) on a young teacher trying to rebuild himself after having been the victim of a sexual assault. With a story playing on flashbacks and flashforwards to translate as closely as possible what is happening in the head of this twenty -year -old trying to project himself into the future without being able to erase the past from his memory. All with a remarkable mastery for a first feature film.
Thierry Cheze
Vittoria ★★★ ☆☆
By Alessandro Cassigoli
Under the Naples sun is emerging the story of Jasmine, hairdresser, married, and mother of three boys. Every night, it is always the same dream that obsesses him: the appearance of his late father, and a little girl who always ends up joining her. She then puts herself in mind to adopt a girl. With this fourth feature film, their first to go out in French theaters, Alessandro Cassigoli and Casey Kauffman move to the intimacy of a family jostled by this need for maternity that has become visceral. Vittoria Use documentary codes – controlled by filmmakers – to draw a winding but authentic portrait of this laborious adoption process, sometimes at the cost of some anomalies. But Vittoria Also tells, with modesty, the differences of a couple and the mourning of a still raw father. From the start, it is struggling to read the character of Jasmine, then the masks fall into a scene full of tenderness which recalls that to accept and love a child is unconditionally.
Marie Janeyriat
Renard and lapine save the forest ★★★ ☆☆
By Mascha Halberstad
Nice, the new film of the director of the delightful Chonchon, the cute most of the pigs (2022)! After the Comedy Scato Vegan, she adapts her own TV series on a big screen (adapted from a children’s book) where a bunch of cool animals fight against a megalo beaver, a sort of rodent saruan who wants to shave the forest and transform it into a giant lake. It’s funny, full of good references (James Bond, Chicken Run), well drawn, punctuated by great music … What more could you ask for?
Sylvestre Picard
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Frantz Fanon ★★ ☆ From
From Abdenour Zahzah
Two months after the film by Jean-Claude Barny (which was very successful with more than 150,000 admissions), here is Frantz Fanon, hero of another film which concentrates exactly on the same period. These years – between 1953 and 1956 – where this French psychiatrist and essayist from Martinique, the author of Damned of the earth and co-founder of the Third Mondist thought of thought was head of service at the Blida psychiatric hospital in Algeria. Director Abdenour Zanah knows his subject on the tips of his fingertips for having already devoted a documentary, asylum memory, on this part, not the most spontaneously known to his existence. But his formal bias (black and white) and even more the theatricality he wanted to stimulate in the dialogues and by ricochet their interpretations- as ambitious as it is- creates a distance with his words and unfortunately ends up making it inaudible. Unlike Jean-Claude Barny’s approach, where pedagogy and artistic coexist without one stifling the other.
Thierry Cheze
My Father’s Son ★★ ☆ From
Of qiu sheng
For his very first feature film to go out in French theaters, the Chinese Qiu Sheng offers a story in two stages. We first follow an 18 -year -old teenager who, about to return to college, learns the death of his father, a silent and above all brutal man who bequeathed his passion on boxing while not limiting the blows he gave him to the only framework of the rings. Then we find him years later, where the engineer he has become developed, with the help of artificial intelligence, boxing software, by modeling a virtual opponent … taking up the features of his father, which will gradually escape him. In terms of staging, Qiu Sheng touches just by its stylish and elegant aesthetics which offers the most beautiful of the writings at its story. But it is in the conduct of this story that the rub. Where the too artificially nebulous moments rub shoulders with sequences where the filmmaker, conversely, has a little too trendy to support things in this reflection on violent and painful father-son relationships which continue to be death. Uneven but intriguing.
Thierry Cheze
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