You can also find: Julie (in 12 chapters), Freda”, Freda”, the translator, “The man in the cellar”, Story di vacanze”, the Wolf and Lion and Their Algeria. They arrived in theaters October 13. The Obs will help you choose.
American historical drama, Ridley Scott. Matt Damon (Adam Driver), Jodie Comer, Ben Affleck (2h32).
It’s a #MeToo suit when women’s right were science fiction. Or a demonstration of absurdity. Marguerite de Carrouges was the wife of Jean de Carrouges and accused Jacques Le Gris (her husband’s ex-comrade with arms) of rape. She risks being discredited by this kamikaze revelation. However, Le Gris is more than Carrouges and it’s a matter both of honorable and scorned friendship. The first shares the depraved customs of the Count of Alençon, who has made him one of his favorites. Unlike the second, despoiled of part of his land by Alençon who sees in him only a rustic squire. Carrouges vs Le Gris will be in the final legal duel. Due to lack of evidence, we appealed directly to God who, according beliefs, gave victory to Le Gris in a fight to death. There are other ways. But.
Before being one of two films signed by Ridley Scott (83) this year (the other, “House of Gucci”, will be released on November 24), “The Last Duel” is the first screenplay co-written by Matt Damon and Ben Affleck. They have been in existence since the publication of “Will Hunting” twenty-four year ago. Consecrated stars now, thanks in part to Harvey Weinstein’s help, they have adapted Eric Jager’s book on the little-known episode in history to make amends. By endorsing the surcoat of debauchery Pierre d’Alençon, the actor maintains the ambiguity while serving the noble cause of this “Rashomon” under Charles VI. The idea of presenting the successive versions of the three protagonists is not new, but remarkably held, Damon and Affleck having taken care to add a female gaze (screenwriter Nicole Holofcener).
It is difficult to confront different views and make them change. #MeToo’s main challenge is translated into a story close to serial writing. The story continues to gain nuance and complexity while Ridley Scott’s physical staging assures the show. The battle scenes are stunning, raw. These actors are amazing! Adam Driver, the star of power, plays another kind of toxic seducer. Matt Damon is a mullet-cut and broken-skin Matt Damon is more ugly than in “Stillwater.” Jodie Comer from “Killing Eve”, stands up to them with class. There are two or three mistakes of taste. For example, why do soldiers sing French when the film uses English as the default language?This show is great, stimulating and adult. Hollywood was never capable of it. Nicolas Schaller
Martin Bourboulon’s French romance with Romain Duris and Emma Mackey. Pierre Deladonchamps (1h49).
This is not a biopic. These foundations are real. Gustave Eiffel was a young man who loved Adrienne, whom he lost to life. However, the frame is fictional. Their reunion and Adrienne’s role in designing the Eiffel tower are fantasies. Regardless of historical accuracy, “Eiffel” is intended to be a popular romance against a heritage background, “Titanic” style. We are far from this. The photo is neat, Emma Mackey (from the “Sex Education” series), very good, but the film is ripoliné, Love storyCosmetic, meaning without breath or personality. As Romain Duris on automatic pilot. The few scenes that were made for the monument’s construction are a pure export product (budget 23 million euros). The tower is the only thing that vibrates. N. S.
Norwegian drama by Joachim Trier with Renate Reinsve and Anders Danielson Lie. Herbert Nordrum (2h08).
Joachim Trier concludes his Oslo trilogy by presenting this melancholy portrait Julie (Renate Reinsve – interpretation prize at Cannes), a woman in her thirties who hesitates among successive vocations and fights against assignments to motherhood. This still refers back to her as a #MeToo company. The dialogues are incisive. The staging is open to poetic licenses like the ability to stop time in any one of these twelve chapters, except for Julie and her lover. Seduction sequences are a refreshing take on romantic comedy, playing with flirtation and it’s limits. This cruel, gracious and charming novel about a young woman searching for herself is a delight to read. Trier’s abrupt drama and senses of loss are dazzling. Sophie Grassin
Haitian drama by Gessica Geneus, with Néhémie Bastien, Djanaïna François, Gaëlle Bien-Aimé (1h29).
You can either go or stay in Haiti. Freda, a young Port-au-Prince resident, dreamed of new horizons despite the endemic misery and social chaos that followed the 2010 earthquake. Attachment to country, fear of future, violence – all this is mixed up and we have to get out. Gessica Genus’s first fictional film, “Freda”, is a story of a personal odyssey that is both poignant and hard. At a time when the images of the repression of Haitian migrants on the Texas border scandalize the world, “Freda” is a generous, lucid look at a failed country. Talented, the director is a velvet neorealism. Francois Forestier
Syrian drama by Rana Kazkaz, Anas Khalaf, featuring Ziad Bakri and Yumna Marwan. David Field (1h45).
July 2000. Bashar al-Assad succeeds to his father. A few months later, Sami (Ziad Bakri), official translator for the Syrian team, makes a slight slip in front the media. He is now an outcast in Damascus, and forced to remain in Australia as a political refugee. The Arab Spring took place in March 2011 in Syria. There, the people protested against the Baathist regime. It’s civil warfare. Sami, whose brother was tortured and detained, decides to illegally return to his home country. With the fury of an Arab Quixote, Sami decides to fight. This is the first film made by a Syrian couple with dual French and American citizenship. It’s a deep dive into a tragedy that won’t end. Although the tyrant may be invisible, he is all around. This film is powerful and overwhelming. Jerome Garcin