Trapped- Caught Stealing, The Sun King, The Rose War: New in the cinema this week

What to see in theaters

The event
Taken from the trap- Caught Stealing ★★★ ☆☆

By Darren Aronofsky

Essential

Austin Butler loving the screen with his magnetic loser quickdraw in this after hours under amphetamines where the creative insolence of the director of Black Swan, far from his comfort zone, is enjoyed without moderation

It is a malpropre and a little nitrous film, a After Hours in amphetamine. The adaptation of a novel by Charlie Huston by the most relaxed Darren Aronofsky that we have ever seen. A narrative ordeal, a punk dance above the East Village where Aronofsky has fun resuscitating the visual codes of the New York at the end of 90’s, night playing field where mild bars, stinking alleys and metro stations are transformed into absurd war areas. It is in this toxic ecosystem that an old baseball phenomenon (Austin Butler, extraordinary) lives and is about to see the world collapse around him … Aronofsky, an author often adulated in the references, decided here to build his playful game. Halfway through, everything goes into a spin; All the mafias are giving up against the hero who has asked nothing and his cat becomes the stake of all confusion. We are witnessing a slightly stunning style demonstration to the final credits. Admittedly, it is not the film that defines the corpus of Aronofsky, but it is the one who shows a filmmaker ready to take all the risks. And sometimes this creative insolence is the most exciting thing.

Gaël Golhen

Read the entire review

First like a lot

Useful ghost ★★★★ ☆

RATCHAPOM BOONBUNCHACHOKE

March, broken by the death of his wife Nat, victim of dust pollution, discovers that the spirit of it … reincarnated in their vacuum cleaner! A well-barred starting situation that the filmmaker will push to the end by refusing the ease of limiting himself to a pure film-concept. Since barely reconstituted, this funny couple will confront the March’s family, reluctant to this supernatural relationship because it is even haunted by a ghost, which appeared on the death of a worker who caused the closure of their factory. And that, to prove its usefulness, Nat undertakes to clean this factory and release it from her wandering souls. Useful ghost then rocks comedy to a political film through the will of this family to eradicate the memory of workers abused by their care. This fable with chopped writing and elegant staging puts its stripping humor in the service of a real pamphlet against an Orwellian society dominated by surveillance and repression. With the key to a Grand Prix of the Total Deserved Cannes Criticism Week

Thierry Cheze

Read criticism

Hello language (impromptu) ★★★★ ☆

By Paul Vecchiali

In the lights of the pontifying idea that we have of a posthumous film, is hello language. With a disarming simplicity, shot in total improvisation in a day and completed nine days before his death, the final film by Paul Vecchiali takes on the air of a film like the others. Even if he is obviously overwhelming to see the filmmaker, then aged 92, wait in front of his home while his fiction son arrives (Pascal Cervo, his favorite actor), which he has not seen for several years. By Champs-counterchamps economical but of great elegance, the two accomplices discuss and reconcile, making a few decorations the sacred place of fundamental, vital discussions. We think of other Vecchiali films (memory holes, the dunce) in front of this hello the language which recalls how much this filmmaker has built a work too little known to the greatest number certainly but of a splendid coherence.

Nicolas Moreno

First a love

The woman who knew too much ★★★ ☆☆

Of Nader Saeivar

Co- written by Jafar Panahi and clandestinely produced, the woman who knew too much calls for revolt in the face of the rascked feminicides: Tarlan, a retired woman, attends the murder of her adoptive daughter, a dance teacher whose fierce character disinfits her husband, a high man. In his quest for justice, Tarlan finds himself stuck in a gear where each cog reveals the dysfunction of the Iranian society. Even if it relies too heavily on rudimentary symbolism, the scenario is enhanced by staging choices that offer a singular approach to the subject, preferring irresolution to satisfaction, simplicity in melodrama, slowness to precipitation, in order to reflect a harsh reality: faced with feminicides, injustice remains.

Lucie CHIQUE

Mirrors n ° 3 ★★★ ☆☆

By Christian Petzold

After Ondine or the red sky, Cristian Petzold confirms with this mirrors n ° 3, discovered at the fortnight of filmmakers, that he is one of the most singular voices of German cinema. Her heroine – camped brilliantly by her favorite actress, Paula Beer – is a Berlinian victim of a road accident from which she escapes but who costs her boyfriend she no longer liked. And while we think that Mirrors N ° 3 will follow its reconstruction, the story branches off and focuses on the relationship that the woman who collected her has tied with her. Always muffled by an acute sense of the romantic, Petzold tints here his drama of supernatural and even burlesque. And signs a confusing fable around mourning, rich in little by little revealed, whose characters try, each in their own way, to free themselves from their ghosts. All built like a puzzle of which each apparently enlightening piece only adds ambiguity. As bewitching as it is unarken.

Thierry Cheze

Blood and mud ★★★ ☆☆

By Jean- Gabriel Leynaud

The Coltan is a precious ore. It is from this metal that the capacitors of our electronic devices are made. The land of the Democratic Republic of Congo is fertile and encourages poor populations to extract it by bare hands under conditions made even more dangerous by settling of scores between armed groups. This documentary follows women, men and children in this mountainous hell and takes a lucid look at one of the many aberrations of our modern world.

Thomas Baurez

Find these films near you thanks to First Go

First a moderately love

The Sun King ★★ ☆ From

By Vincent Maël Cardona

The Sun King is the name of the Versaillais barbacco, where the action of the film begins, in the early morning, bringing together some customers: an emergency worker, a reveler in full descent, two cops out of an agitated night and an old used place, who learns before the eyes of the assembly that he has just won a fortune in the lottery. Barely time to take the good news he is robbing, then kill … The witnesses of the drama react by saying that they could share the jackpot, by rearranging the truth a little … This is for the starting point of the second long of Vincent Maël Cardona, after the magnetics. A black film with the confluence of a Dogs reservoir, the million light René and a tuxedo/no tuxedo. After the fun implementation and the cast of beloved actors, the film unfortunately ends up getting lost in its convoluted ramifications, less and less credible over the projection. A film about the art of telling stories would have needed a cord script.

Frédéric Foubert

In the first line ★★ ☆ From

Petra Volpe

There are films that suffer from their release date, landing after all a series of works that have not only addressed the same subject but above all marked the spirits. Discovered at the last Berlinale, the new length of the director of the conquerors (on the release of Swiss women post-68) features the trying daily life of a Swiss nurse trying to overcome by total devotion the sub-staff of the hospital where she works. But what more can we tell and how to get there in front of all the series, fictions or documentaries that recently pointed out this suffering world, from Hippocrates to Madame Hofmann via the fracture or, in her way, the interest of Adam this month? Despite the excellence of the composition of Leonie Benesch (the teacher room), on the front line finds no response to these issues and the tension that the story aims to provoke is necessarily damaged with this feeling of already (a lot) seen.

Thierry Cheze

First did not like

Rose War ★ ☆☆☆

By Jay Roach

It starts with a slightly soft recovery of the Happy Together of the Turtles. Excellent, involuntary way, to set the tone for a film which is itself a useless “cover”, a faded and bland remake of a little classic of US comedy, signed Danny Devito in 1989. The Rose War Millésime 2025 does not work absolutely, and it is first believed that it is because the Cartoone’s settlement of accounts between the pink spouses (Olivia Colman and Benedict Cumberbat Too late, after a long hour and a half of tortuous introspection, painful couple therapy interspersed with small poggic spikes – but not very nasty, nor tasty. Then we see the original film again, and we realize that he obeyed the same structure why then was what worked so well at the time completely collapsed here? Questions of style, rhythm, point of view, talent in the way of grasping the air. Where Devito knew very well where he was going, methodically going from the study of manners to the game of massacre, the version of Jay Roach gives the spectator the impression of attending live to the laborious Brainstorm of a team of authors wondering how to modernize the war of the Rose. Without ever achieving it.

Frédéric Foubert

Read the entire review

Family Therapy ★ ☆☆☆

Sonja

On a deserted road, a family of new rich people go for the car-on-the-side car, whose occupants, much less affluent, will knock on the door of their luxury house, which the French son of this bourgeois father opened, born from a previous union and raised far from their codes. Looking on the side of Parasite and Yorgos Lanthimos, Family Therapy aims to speak of the class struggle by the prism of the Misanthrope satire. But everything is so supported that nothing works. Neither comedy nor the change in tone totally fake towards drama.

Thierry Cheze

And also

Escape from the 21st Century, by Yang Li

The covers

A foolproof, of John Woo

Diva, by Jean- Jacques Beineix