[CINÉMA] All for one, a big turnip in Woke sauce

There are, in the profession of journalist, great moments of loneliness. Duty, by professional conscience, undergoing the projection of a turnip is one, and not only because there are in the room only three old ladies who came to eat their warm yogurt.

Sarah-Louise Guille had warned us. She said true: All for aHouda Benyamina's film is a wokist stew that will deserve to appear in the annals of the genre.

When you don't have enough imagination to create your work, you recycle that of others. This is what the director did by parodying The three musketeers. Revisiting Alexandre Dumas is fashionable, but talent is not always there.

The scenario is simple: Sara, a young “Morisque”, came out of her cage by three musketeers responsible for protecting Queen Anne from Austria, pursued by the awful Richelieu. They are called Athos, Portau and Aramitz, respectively embodied by Sabrina Ouazani, Déborah Lukumuena and Daphané Patakia; They are joined by Oulaya Amamra, the so -called Sara become from Artagnan.

Neo-feminism for dummies

Admittedly, it is obvious that Houda Benyamina did not seek likelihood, even less the historical truth. We immediately understand that this is not his words. Permanently oscillating between bad western spaghetti and zorro in wokists, his film is only a bad militant pochade. In case the naive spectator nevertheless tries an effort to take an interest in it, he is immediately diverted by drunk music (American pop songs!) Which punctuates each scene of fight. Numerous scenes intended to hide the emptiness of the plot, scenes where men are obviously ridiculed, poor little things that do not resist the Herculean force of a “racialized” Portau.

The censorship of time indeed prohibits expanding on the caricatural employment which is made here of the favorite actress of Houda Benyamina, the black Déborah Lukumuena. Crowned, in 2017, of the César of the best actress in a supporting role for Divinesshe embodies here a kind of hulk which is only lacking in the green color. In its place, we would file a complaint for discrimination …

The goal is not here to tell a story but to produce a militant act. Who can believe, before this turnip, that the action takes place in 1625? The argument is succinct: women are men like the others, that is to say violent, vulgar and bloodthirsty. Also focused on “the thing”, and our Portau makes virile attributes with Art to make toy between girls: ” With a cock, we are less afraid “, She said. In her press kit, the filmmaker said: ” Through an adventure film, I wanted to question gender identity. Maybe that's it, echo in his time! This is why, no doubt, she boxs a scene as stupid as obscene where her musketeers reach orgasm by managing to make a small marquis stuck in her coach cry.

French cinema costs a fortune to the taxpayer

In short, this is still a perfectly useless film, far from honoring the genre, which would be unimportant if we – you and I – had not funded it.

For this masterpiece, Houada Benyamina, in particular, received funds from the CNC, of ​​course, from the Île-de-France regions, Occitanie and Paca, from SACEM, from Canal+ and France 2 cinema, and even RTBF and Europe via Eurimages.

As Sarah-Louise Guille recalled here, in 2023, the CNC distributed 311 million euros in French cinema, France 2 and France 3 cinema some 60 million. A report by the Senate reports on financing French film production by public funds up to 31 % in 2022, or 1.7 billion euros, this for films that sometimes meet no audiences.

This Wednesday, January 22, All for a attracted less than 1,300 spectators for its release, far from the 20,000 of Divinesthe previous film by Houda Benyamina. This is an opportunity to recall that the red lantern of French cinema is owned by Bernard-Henri Lévy: his film Slava ukrainiwithdrawn from theaters after a month, in March 2023, had only 1,024 admissions in total. But what does it matter, president (for life?) Of the supervisory board ofArtthe philosopher-cineaste makes his films spread by the chain. And what does it matter if it's around midnight, these filmmakers who walk to the grant do not need public. It is enough for them that he pays.