Transfer window, attachment, just tell me you love me: new features in the movies this week

What to see in theaters

The event
Transfer window ★★★ ☆☆

Of Tristan Séguéla

Essential

A thriller roundly conducted and documented behind the scenes of the football world, carried by the sparkling composition of finesse and accuracy of Jamel Debbouze

To dive into the world of football, Transfer window Concentrates on this period of transfers where players have the right to change clubs and on tight negotiations between the agents who represent them and the managers of the teams ready to sell or acquire them. His central character is one of those agents, Driss who, summoned to bring together an important sum of money to purify his debts, has 7 days to achieve his ends by carrying out the transfer of one of his players. Transfer window is therefore lived as a thriller all the more engaging as it relies on a picky knowledge of the football world. But his other major asset is the one who initiated him and embodies Driss, Jamel Debbouze, by his ability to translate humanity and the wheelchair of his character both, without ever falling into the trap of doing his Tchao Pantin. A masterclass.

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First like a lot

Attachment ★★★★ ☆

De Carine Tardieu

Carine Tardieu (Young lovers) has this talent to treat the most banal things of our lives (the couple, parenthood, family …) by fading behind their characters and chiseled stories. But with this adaptation of Intimacy From Alice Fernay, she crosses a new level. His first scene could augur a comedy. Sandra, an independent quinqua, childless and happy to be found it to have to keep that of a couple whose woman leaves to give birth, Elliott. The baby will be born but the mother will not survive it. Attachment will therefore tell the impact of this brutal disappearance on the lives of those who remain and turns out to be as brilliant in what is said to be there. In this way of facing the emotion of the front without forcing the line and the tears. Like this way of causing actors of an eruptive nature (Valeria Bruni-Tedeschi, Pio Marmaï and Vimala Pons) on a field of which they are not very customary: this internalized pain which reveals new things of them.

Thierry Cheze

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First a love

Young Hearts ★★★ ☆☆

Of Anthony SCHATTEMAN

A thunderbolt between two young Belgian boys. A first love with its share of blunders and heart stages not always well mastered … Difficult not to think of Closed by Lukas Dhont in front of this first long long of his compatriot Anthony Schatteman. A shadow that could have turned out to be overwhelming if Sachatteman had not chosen a different angle to approach it. In this case the bias to focus on what is happening between these two boys rather than on external elements (ambient homophobia …) which would undermine their relationship. Young Hearts So belongs to this family of films that seek the light at the end of the way but without paying into the mièrerie, in particular in the writing of characters rich in contradictions of which Sachatteman never seeks to round the angles artificially. And with a keen sense of the romantic that never denies.

Thierry Cheze

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Just tell me you love me ★★★ ☆☆

From Anne Le NY

Married for fifteen years, Marie and Julien have two daughters, a pretty house in the open air and comfortable professional situations. But the history of the couple pushes Marie to not always have confidence in her. And when a series of adventures makes him cross the road to an apparently charming hierarchical superior, a love trap will close on the mother … HAS Starting from this frame evoking an ordinary melodrama, Anne Le Ny (The torrent) In reality, a stifling psychological thriller dealing with manipulation and grip. If Élodie Bouchez is remarkable with emotional intensity in the face of Omar Sy, José Garcia or Vanessa Paradis, the last act of the story is pouring a little too much into sensationalism. But the sharp look of the filmmaker, both on sentimental relationships as on the business world, takes the song.

Damien Leblanc

September & July ★★★ ☆☆

From Ariane Labed

September & July You immediately hang on. Nothing spectacular, however. Just a strange climate, a certainty that, despite the calm that reigns, everything can happen at every moment in the relationship between its two heroines, two inseparable sisters September and July. By adapting a novel by Daisy Johnson with a fine management of elliptical twists and turns (this mysterious event that pushes these sisters and their mother to take refuge in an isolated country house), Ariane Labed indeed signs a film while ambiguities. Those who dominate the relationship between these two sisters, September regularly pushing the limits of his mentor status by taking July in a cruel derivative of the game “Jacques said”, before it ends up gaining autonomy. By her way of playing with the formats (16 and 35 mm) of a film she wanted in film, Ariane Labed amazes by the relevance of her bias and her ability to never deviate from it. Exulting beginnings.

Thierry Cheze

The factory of lies ★★★ ☆☆

By Joachim A. Lang

In the many films devoted to the Second World War, few are those focused on the figures of Nazism. For fear of seeing them humanized via the prism of fiction, they are especially confined to secondary or parody roles. The factory of lies So constitutes a form of exception since Joachim Lang paints the portrait of Goebbels, Minister of Hitler’s propaganda. He shows it in his daily life (couple concerns …) while deciphering his manipulation methods to electrify crowds. And by always distilling archives wisely to accompany his fiction, thus constantly recalling the concrete consequences of his actions. With the words of Primo Levi, which open and close the film underline (“it happened so it can happen”), a desire to tell yesterday to prevent the same causes from producing the same effects today and tomorrow . Successful mission.

Thierry Cheze

It’s Okay! ★★★ ☆☆

From Kim Hye-Young

Recently orphan, a young Korean is trying to keep her head out of the water between financial difficulties, the requirements of her traditional dance school and bickering with her comrades. Throughout her daily hassles (which sometimes borders on the pathetic), she manages to capture our sympathy and draw a personality as endearing as we are rich. Tinted with humor and lightness despite the themes he tackles, this story of passing to adulthood charm by its spontaneity and simplicity.

Bastien besieged

The sons who touch ★★★ ☆☆

From Nicolas Burlaud

At 50, it is detected an anomaly of the hippocampus, a small brain region that sculpts memories. If Nicolas Burlaud is no longer able to resist erasure, his work can: medical images and documentary archives of his commitment within a Marseille media merge thanks to a playful montage, weaving links between individual memory and collective. A work of great generosity, since that of a man who nourishes our hippocampus while he renounces his.

Lucie CHIQUE

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First a moderately love

Brian Jones and the Rolling Stones ★★ ☆ From

From Nick Broomfield

Brian Jones: English kid’s crazy girl from Blues, founder of Stones, Dandy Sixties Ultimate, died in his swimming pool in 1969… The rockumentalist Nick Broomfield (Kurt and Courtney) Rouvre the cursed Stone file. Despite the promise of a strong angle (Jones seen as the sacrificial victim of a war between generations), his doc is in fact satisfied to hire the great chapters of Brian’s life. We are happy to see the fellow travelers and debauchery (singer Zouzou, Prince Stash …), less than they are seized in zoom interviews with unflattering framing. The interventions of ex-bassist Bill Wyman, who highlights the genius of Jones by mimicking the guitar slide of Little Red Rooster or the flute of Ruby Tuesdayclose to the involuntary comic. As for the lack of mention of the Album World Pioneer The pipes of pan at joujoukait is out of the crime of lese-Satanic majesty.

Frédéric Foubert

When the Light Breaks ★★ ☆ From

By Runar Runarsson

Cinema allows an accelerated life. So the young one of this When the Light Breaks will wake up in love and almost immediately learn to mourn what she thought eternal. She will then try to share her sentence and know the opposite winds. It is much certainly, however the present feature film of Icelandic Runar Runarsson (Sparrows) manages to print a gravity without departing from a paradoxical sweetness. He keeps in mind the idyllic image of a sunny counter-day where lovers who have become silhouettes take shape above the rocks in front of the sea. An almost stopped image that the whole story will upset but whose memory is permanently printed . And this, while the crash of reality try to cover everything. For Una, this way of the cross has the value of a learning novel. This does not prevent the whole from numbing us as if the little music of the story was already known.

Thomas Baurez

And also

With or without children ?, of Elsa Ballau

Break of Dawn, by Tomoyuki Kurokawa

The Monkey, from Osgood Perkins

The covers

Buffalo Bill and the Indians, by Robert Altman

Four nights of a dreamer, by Robert Bresson