The Thief Pie: Guédiguian touches (still) just (critic)
The Marseille director continues to explore human behavior in a society that seeks to put us against each other. There remains cinema and ascaride.
What’s new on the old port? Almost nothing. Tourists-Badauds seen a good distance from an adjacent street where one of the young heroes of this Thumbnail takes care with his wife of a small real estate agency. Moche and Marconist attitudes. Almost nothing to save. Robert Guédiguian is, as we know, beat the heart of his eternal film further north, towards the estaque far from the Gentrified city center. Mostly calm especially. Here we wear sunny outfits with a smile such as the very thieved pie (Asscaride) which with its shopping bags advance without bending too much the spine. She is a home assistant for more or less old people, one of whom (darroussin) happens to be the father of the seller of well-combed apartments (Leprince-Ringuet). The nice confidant rounds the angles and end of the month on the back of the people in charge of.
The drama gently weaves his canvas around men and women who form the human comedy of the filmmaker. Everyone has their reasons. Maybe, but that is not enough. Guédiguian carries the renoirian axiom at arm’s length to reaffirm his vision of a fairer world where the error is corrected. As proof, the apartment seller seduced by the daughter (Marilou aussilloux) of the one who threatens her inheritance would even end up questioning her real estate aims. The beauty of the gesture is in this anti-spectacular way (staging to the sovereign purity) but effective (it will quickly) to keep a spectator who is never taken for a tourist.
By Robert Guédiguian. With Ariane Ascaride, Jean-Pierre Daroussin, Grégoire Leprince-Ringuet… Duration 1h41. Released January 29, 2025