There are also “Cyrano”, ‘the Great Movement”, ‘Azuro”, ‘Aristocrats”,?Vedette”,?Return to Reims, fragments”,?”Sonic 2″, “What am I allowed hope for and…” They arrived in cinemas on March 30, “L’Obs,” helps you make a decision.
Italian burlesque saga, Gabriele Mainetti with Claudio Santamaria and Aurora Giovinazzo, Pietro Castellitto and Giancarlo Martini (2.21).
They are four giants who crossed Italy in 1943 amid an atmosphere of apocalypse. There is Matilde, a lovely young girl that no one can touch, on pain of being electrocuted (she generates 2,000 volts); Cencio, albino boy who controls all insects in creation, spiders, ants, fireflies (except bees); Fulvio, hairy giant like a werewolf, from head to toe; Mario, a dwarf masturbator whose body is magnetic, the little spoons stick to his forehead… Circus artists, these incredible heroes are thrown on the roads by the German debacle. Between laughter and tears, bombs and evenings full of sweetness, they create an adventure that’s akin to baroque delirium and sarsaparilla smoke. These burrs of nature are sought by the Nazis to be displayed at Zirkus Berlin. They are led by a hateful pianist, who has six fingers and is able to play Schumann.
It’s amazing! Where did this wonderful film come from? Could Terry Gilliam and Emir Kusturica be the secret children of the filmmaker? The adventures continue one after another. History crumbles, Italy is consumed and the monsters travel to Rome to rescue their mentor, Israel. Cencio mobilises the cockroaches. Matilde takes down Wehrmacht rapists. While the German high command still hopes for victory, Matilde takes down Wehrmacht rapists. The flames consume entire towns. Franz, the National Socialist madman that runs Zirkus Berlin, sees Hitler’s suicide and also owns PlayStations. Weird, right? This is the exact price of this outlandish film. It manages to poke fun of the Marvel heroes’ vogue and find a tone which combines humor and fantasy. Gabriele Mainetti, first as an actor, then as a composer, studied at the Tisch School of the Arts, New York. It is located at the base of the Chrysler Building that his grandfather built in Manhattan. His first film, “We called him Jeeg Robot”, was already quite bizarre. His second film, “Freaks out”, confirms that the man is as freakish as we like. Francois Forestier
French drama by Diasteme, with Léa Drucker, Denis Podalydès, Alban Lenoir, Benjamin Biolay, Thierry Godard (1h29).
End of twilight reign at the Elysée Palace. Three days before the elections, the Prime Minister is searching for a new job with the UNHCR.), the outgoing president (Léa Drucker) learns that her designated successor will be crushed by a scandal involving Russia: free way for the far right . Supported by Stéphane Davet and Fabrice Lhomme, Diasteme signs a political thriller rubbed with the brou of recent cases, focused on moral issues: should we opt for illegality with the help of a bodyguard devoted to the president? Except for an absurd scene in which the candidate of extremes is seen before the PC Jupiter, and with far too many characters, the rest of the scenes are plausible. few characters, the filmmaker succeeds in realistically depicting the loneliness of a power in agony where Drucker and Podalydès, as secretary general of the presidency, carve out the lion’s share. Sophie Grassin
French musical drama by Cédric Klapisch, with Marion Barbeau, Hofesh Shechter, Denis Podalydès, Pio Marmaï (2h).
Ballet dancer Elise is hurt when she discovers her partner, also a dancer is cheating on herself. Her life is thrown into turmoil when she learns that her partner, a ballet dancer, is cheating on her. She leaves Brittany to discover a new style of dancing and a different love. While there, she also meets beautiful characters and passionate people. For his fourteenth film, Cédric Klapisch offers us a beautiful dive into the world of dance, classical version at the Paris Opera, modern version with Hofesh Shechter, Israeli choreographer. While it is beautiful to view, it is also very mocking towards the characters. For example, the physiotherapist is too ridiculous, and the dad of the dancer pitiful. These characters are transformed into unmoving puppets by the acid. A small acid theater, with superb flights, but… This “but” annoys, even disturbs. F. F.
Bolivian drama by Kiro Russo, with Julio Cezar Ticona, Israel Hurtado, Francisa Arce de Aro (1h25).
Is it fiction or documentary? Elder and his companions arrive in La Paz to search for a job at the mine. The city is a mad maelstrom of people, cars, and markets. Elder becomes ill very quickly. Max, a shaman uses magical remedies to treat him. traditional?) He will be cured. Kiro Russo reveals clues between the shadow of the Andes, and the urban cacophony: We are in a real fable about the decrepitude of civilization. Willingly disjointed – dance scenes, moments of nightmare – the film alternates cinema-vérité and mystical lyricism. While the whole is disconcerting, the talent is there. Kiro Russo: a filmmaker to follow. F. F.
French drama by Matthieu Rozé, with Valérie Donzelli, Thomas Scimeca, Yannick Choirat (1h44).
What’s left after you take away Duras style? Non-stories. By adapting “Les Petits Chevaux de Tarquinia” (1953), the actor Matthieu Rozé (“Frank Riva”) went astray. This is the story of two couples vacationing by the sea. They are struck by heat, dissensions and the temptation to adultery (a handsome stranger is passing by). It is a dull banality. The actors – Valérie Donzelli, Thomas Scimeca, Nuno Lopez – do their best, but what? They are all bored. U.S. too. F. F.
Yukiko Sode’s Japanese drama, featuring Mugi Kadowaki and Kiko Mizuhara (2h05).