Cinema outings –
“The Flood”, “Planet B”: which films to see this week?
Even at Christmas, there are new releases on the screens. And not just films in keeping with the winter period. Here is our selection.
Published today at 8:32 a.m.
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“The Flood”
Mélanie Laurent and Guillaume Canet and what remains of their courtship.
Xenix
Collapse of the monarchy, end of the Ancien Régime. Louis XVI and Marie-Antoinette, arrested in Varennes, were taken to the temple with their son, the dauphin Louis XVII, and their entourage. Inspired by the notebooks of a valet, the film recounts their last days. It is a deliberately slow and meditative film, almost at odds with the whirlwind of the story in which it is inserted. Dark and not very luxurious, this “Flood” depicts from the inside a world which is collapsing, and espouses the inevitable destiny of those who incarnated this world.
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Mélanie Laurent and Guillaume Canet blend with conviction into their roles as fallen sovereigns, but without madness either. This film by Gianluca Jodice, which was screened as an opening at the last Locarno Festival, in any case has the merit of representing an episode in French history that is little scrutinized in cinema. Note that Louis XVII is played by Vidal Arzoni, a young actor from Geneva who is not at his first attempt.
Note: **
•= hateful, °= at your own risk, *= good, **= interesting, ***= excellent, ****= masterpiece
«Everybody Loves Touda»
Touda, traditional Moroccan singer.
FilmCoopi
This film portrays a Moroccan artist who sings without shame or censorship texts of resistance, love and emancipation. However, it all begins with a rape, in a rather harsh and direct manner. Then the film branches off and the heroine finds all her energy in song and joy, in a sort of whirlwind which gives its rhythm to the film.
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It's generous and sunny, but we can regret the lengths in the sung passages, a way of forcing our attention, our support. Filmmaker Nabil Ayouch confirms its singularity in all cases.
Note: **
•= hateful, °= at your own risk, *= good, **= interesting, ***= excellent, ****= masterpiece
“Planet B”
Adèle Exarchopoulos in an unknown world.
present
We would have loved to love it. Especially since the scenario was as promising as it was largely new. We are in a France of the future, in 2039 exactly. In a tormented but poorly explained context, activists hunted by the State disappear without a trace. This is the case of Julia, played by Adèle Exarchopoulos. One day, she wakes up in an unfamiliar world and quickly realizes that the planet she is on with a handful of other people is actually a virtual prison.
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Beneath its promises of dystopia, the film quickly disappoints and does not really exploit a potential that is, at first glance, quite crazy. The cast brought together by Aude Léa Rapin (we liked the unreleased “Heroes Never Die”, which marks Adèle Haenel's last appearance in the cinema) is nevertheless attractive with, in addition to Adèle Exarchopoulos, Geneva's Souheila Yacoub and the talented India Hair. But the plot quickly stalls and leaves us wanting more. “Planet B” nevertheless contains beautiful moments of tension. It's not enough.
Note: **
•= hateful, °= at your own risk, *= good, **= interesting, ***= excellent, ****= masterpiece
“The criminals”
Return to freedom.
Two bank employees from Buenos Aires come up with a strange plan. Steal an amount equivalent to their entire lifetime's salary. Here they are now delinquents, but not delinquents like the others, since they will experience a new form of freedom through their run and their different encounters.
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For some unknown reason, this film was acclaimed by the international press. However, these three hours and ten minutes of ode to freedom and a form of unexpected hedonism leave us more behind than anything else. This is due to the lack of charisma and sympathy of the male characters, but also of those they meet. The time was long…
Note: **
•= hateful, °= at your own risk, *= good, **= interesting, ***= excellent, ****= masterpiece
“The gifts”
Camille Lellouche is going to have a surprise.
Pathé
Of all the French comedies watched recently, “Les Cadeaux” is not the worst. An ensemble film at the end of which a family comes together for a high-tension Christmas meal, it oscillates from one character to another with its share of clichés and nonsense.
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The whole thing flies quite low, with mention however of the Lellouche/Tom Leeb relationship, the deepest in this story. And for once, Gérard Darmon is quite funny.
Note: *
•= hateful, °= at your own risk, *= good, **= interesting, ***= excellent, ****= masterpiece
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