The opening film of the 78th Cannes Festival, an Argentinian existential comedy, a political satire awarded at the Gérardmer festival… Here are the films to see (or not) in the cinema this week.
Go on a day by Amélie Bonnin
Go on a day Never promise to save or repair what was possibly missed. He broadcasts this magnificent idea according to which we can still give back their beauty by reactivating them, literally by re-enchanting them.
The criticism of Arnaud Hallet
Me, my mother and the others of an ea
In this movie-mirror and self-mockery exercise, IAir Said finally has the right prescience to make the bet of tenderness rather than irony, a somewhat brutal tenderness because it is modest where a worried mother threatens her son to “kill” him to tell him better I love you.
Marilou Duponchel’s criticism
Rumours, sleepless night at the top de Guy Maddin, Evan Johnson et Galen Johnson
As altered by this nocturnal anarchy, the staging is disturbed by stirring different aesthetics: Comedy, survival, romance, musical, horror… Rumours contrast undoubtedly with the classic treatment of political film, favoring in fine Satire through this twilight table in which these high leaders are imposed as the last human bastion in front of chaos.
The criticism of Thibault Lucia
Sudan, remember you De Hind Meddeb
With Sudan, remember, Hind Meddeb actually repairs a forgetfulness (“Here in France, we are talking little about the war in Sudan”, She says) but she mainly paints the portrait of a valiant youth, revolted, and in particular that of insurgent girls. Her documentary becomes the shelter of their faces, that of these young women who say their lives, their anger.
Marilou Duponchel’s criticism
Musicians from Grégory Magne
It is when he is purely impressionist and he gives his actors to play, to settle in a moment of music, that the film touches something. Less this invisible thread that connects the musicians between them, than the way in which time flows differently when the sound of string instruments resonate together, this wealth that the faces and body of the characters tell infinitely better speech.
The criticism of Ludovic Béot
Erasure by Karim Moussaoui
We understand the intentions that the film hammers with more or less subtlety. […] But the whole suffocates, padlocked by an anxiety -provoking scenario. Erasure looks like a Taxi Driver Under Codeine, where the New York Poisseux and Noctambule has given way to the ocher deserts.
The criticism of Arnaud Hallet
