The Phoenician Scheme, Else, Another End: New in the cinema this week

What to see in theaters

The event
The Phoenician Scheme ★★ ☆ From

Of Wes Anderson

Essential

Wes Anderson disturbs his universe a little to make room for Tintin -style tribulations. Both fun and surprisingly dark.

Are you tired of Wes Anderson’s cinema? The Phoenician could well reconcile with a director still as manic, but who takes pleasure in slightly cracking the mold. We are in 1950 and the wealthy and merciless industrial anatole “ZSA-Zsa” Korda (the impeccable Benicio Del Toro), launched in the last phase of a maritime and terrestrial infrastructure project, a country trip to convincing his investors to stay in the blow, while trying to reconnect with his daughter and avoid the pledge kicks launched … Tintin in Andersonian lands, where plots, attempts at poisoning and sense of adventure dopy the story. Very comic, very funny and especially less well tidy than its two previous films: The Phoenician Scheme A kicks in the dollhouse, advancing at all costs by injecting explosions and chaos. An absurd film on the absurdity of a world populated by violent and navelopers, large kids obsessed with their power.

François Léger

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First a love

Else ★★★ ☆☆

By Thibault Emin

You will resume a slice of horror body ? In tune with a new generation of French filmmakers wondering about our mutant identities, Thibault Emin films the closed-door of a couple threatened by an epidemic who sees humans merge with objects. With remarkable plastic inventiveness, he goes from candy candy with a black and white nightmare, by summoning Gondry as well as Cronenberg or Caro & Jeunet. Unpublished, very risky, miraculously successful: a real mad scientist transplant.

Frédéric Foubert

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The last robbery ★★★ ☆☆

By Frederik Louis HVIID

In the bowels of a Denmark struck by the financial crisis, Frederik Louis Hvid signs a thriller inspired by the greatest robbery in the history of the country. We follow Kasper, a failed boxer with revealing scars, manipulated by Slimani, a criminal brain as charismatic as it is frightening (Reda Kateb, magnetic). The nervous staging, the photo with icy hues and the increasingly erratic frames amplify the desperate atmosphere of the film. While some secondary characters are sorely lacking in thickness (especially women, reduced to storage) the tension between the two male characters is enough to draw a straight line until bloody resolution. Despite a scenario that sometimes borrows too much from the clichés of the genre, The last robbery stands out as a thriller where urban violence and toxic masculinity collide in an inexorable spiral.

Gaël Golhen

Another End ★★★ ☆☆

Of Piero Messina

For his second long (ten years after The wait), Piero Messina tries a dystopia whose hero, sal, unable to mourn the woman of his life, calls on a new technology that inoculates the consciousness of the deceased for a few days … in the body of another. Mix between an episode of Black Mirror and the melancholy of Her,, Another End Seduced by the ability of its author to decide between the different genres that his story summons. To favor the melo to the fantastic through this incapacity of Sal to limit the experience to the time planned to the point of tracking, when she becomes himself again, the call-girl that welcomes the soul of the deceased. The assumed minimalism of the staging offers a perfect setting for this quest questioning the foundations of the feeling of love where Gael Garcia Bernal while interiority and reinate Reinsve, impressive in the bodily incarnation of his double role, form the most poignant of the duos.

Thierry Cheze

Chime ★★★ ☆☆

By Kiyosshi Kurosawa

In Japan, a student explains that he has chosen cooking lessons to forget the chime whom he is the only one to hear in his head. To the symmetry of the stoves and the cleanliness of the posts therefore attaches resistance: man calls for help by all means, while he arouses embarrassment and rejection with his companions. At a time Gaslight Movie and film-contamination, Chime Play on internal (felt by the protagonist) and external (that which he provides others) to question the individual’s isolation in Japanese society. Starting from a madness from which his character cannot come out and using ellipses, Kiyoshi Kurosawa (decidedly ultra-active because again present in theaters on June 5 with Cloud) summons the ghosts of his past films while offering his story an absence of terrifying resolution. With new, he continues to do as before: this is called a (pretty) dead end.

Nicolas Moreno

Diplodocus ★★★ ☆☆

From Wojtek Wawszczyk

It starts as an animated film for very classic children. A family of dinos, the little one who dreams besides and … the screen storms with white. We then go into lively To follow the galleys of a designer. The stories of his dinosaur (Diplodocus) have no chance of being published. So you have to erase (the white flattens of the start). But Diplo escapes erasure and crosses different imaginary worlds … perfectly rhythmic, chaining adventures with fluidity, this film overflows with imagination and humor and will delight young and old.

Gaël Golhen

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First did not like

HOT MILK ★ ☆☆☆

By Rebecca Lenkiewicz

On the Spanish coast, while accompanying her paralyzed mother to consult yet another doctor, Sofia (Emma Mackey) meets the enigmatic Ingrid (Vicky Krieps). But do not let yourself be fooled by this promise of vagrancy by the sea: it is not the Iberian Sun that gives HOT MILK Its heavy atmosphere, but indeed its convoluted story between lesbianly lesbianly and mother-daughter relationship. A film more disturbed than disturbing, which only unfolds late during an intense final scene.

Lucie CHIQUE

And also The Mitad de Ana, Marta Nieto

Shimla, a fugue of modern times, from Victoria Guillomon and Johan Reboul

The covers Lili Marleen, To Rainer Werner Fassbinder

Mr. Constant, from Alan Simon