And also: “Tales of chance and other fantasies”, “Libertad”, “Abuela”, “Employee/Boss”, “Bad Guys”, “O Fim do Mundo” and “La Nuit aux amants”. They will be in theaters Wednesday, April 6. You can choose from “L’Obs”.
French comedy by Gustave Kervern and Benoît Delépine, with Jonathan Cohen, Vincent Macaigne, India Hair, Jehnny Beth (1h48).
Viandard, boaster, faux-derche, climatosceptic, smoker, macho – “Before, a woman was not hired by me unless she went to the pan.” -, Béquet (Jonathan Cohen), local elected representative “various extreme center” – that is to say if he eats at all the racks -, wants to pigeon Molitor (Vincent Macaigne), ecologist complexed like the left, but honest, pipe smoker electronics and a fan of sylvotherapy, to push through a construction project for a leisure center by felling, in passing, a primary forest. The Colle Girls, a group of feminist activists, undertake to weld them together with strong glue, at the IMF, the sleazy bar on the corner, to the martial cry of “Fuck the patriarchy! “.
Trapped in a compromising but ultimately logical position for those who wanted to cuddle the other, here are our two lads, in carts or electric scooters, in suits or camouflage, forced to submit to each other until they find the right soul – melancholic sophrologist (Lætitia Dosch), uncertain veterinarian (Thomas VDB), Trumpist dinner boss (François Damiens) – damn to get them out of this bad situation.
After a punk song, and therefore anti-system, by Nina Hagen, Gustave Kervern and Benoît Delépine, joyful guerrillas from “Groland”, return to their dear loves: the road movie, whether performed in a wheelchair (“Aaltra”) or in the perimeter of a shopping area (“Le Grand Soir”), to complete a biting eco-feminist farce against all forms of extremism and well in tune with the times, undoubtedly their most written film to date. The situation comedy, comical dialogues and situation comedy (there is a Marx Brothers aspect to the buffoonish pose imposed upon the two zigotos), pay attention to the frames, sequence shots and the development of the characters. One of the feminists questions the meaning of their action. Our niquedouilles, who are dispossessed from their masks and infirm, refocus their eyes on themselves…
In “I Feel Good” (2018), shot with Jean Dujardin in an Emmaüs community, the directors basically pleaded for a desire to live modestly. “At The Same Time”, which is the second part of the film, they call for “living in harmony” in parallel with a depressing electoral campaign. Macaigne and Cohen, who are newcomers in their cinema, allow themselves to be jostled with a generosity that resembles enthusiasm. Sophie Grassin
Drame sentimental par Ryusuke Hamaguchi, avec Kotone Furukawa, Kiyohiko Shibukawa, Fusako Urabe (2h01).
A friend hears from a woman about her encounter with a man she was once married to. To trap her teacher, a student gives him one of his erotic texts and allows herself to be taken in. Two strangers come across each other on the streets, the one believing that she recognizes in her the former classmate she was in high school.
Three stories about the games of chance and love at three ages of your life confirm the incredible talent of dialogue writer and director, “Drive My Car” He is Japanese Rohmer in his psychological acuity, complex feelings, and science of detail. Silver Bear at Berlin Film Festival 2021. Nicolas Schaller
Belgian fantastic tale by Fabrice Du Welz, with Benoît Poelvoorde, Alba Gaia Bellugi, Mélanie Doutey (1h38).
Fabrice Du Welz considers cinema a necessary necessity. He imagines a complete nightmare in which a successful writer’s wife is parasitized by the (seemingly innocent!) presence of a cleaner lady. It all falls apart quickly and under the surface of a quiet existence, the monsters from the past (and the mind) will emerge, devouring relentlessly and relentlessly. The suspense is very successful and the tone – trendy yellow Italian –, taking. The film was shot on Super-16 film. It is highlighted by sacred music (“Vivaldi”), and it is both the portrait of an impostor (in chiaroscuro), and the painting of a story that Edgar Poe would be proud of. We find the calm cruelty of “Alleluia” (2014) and the poisonous atmosphere of “Message from the King” (2016). Enthusiastic. Francois Forestier
French drama by Audrey Estrougo with Virginie Van Robby and Lucie Debay. Anne Coesens (1h22).
Audrey Estrougo is back with a more intimate drama after the unfortunate and relative failure of “Supremes”. Behind closed doors Emmanuelle reunites once again with her mother and sister to spend a weekend. Her family is worried about her mental health because she has a psychiatric disorder that makes it difficult to cope with everyday life. However, the rivalries between sisters, Emmanuelle’s pregnancy and the return to an inconsistent father will shatter everything. Although it is a modest film in format, the film is powerful in its content and the acting and fire of its actresses. The short time frame of the action (a few weeks) and the length of film allows the characters to be encapsulated in their archetypes. This harshness reflects the dramaturgy. Xavier Leherpeur