New film by the atypical Leos Carax, “C’est pas moi”, released in theaters this week, has a press average of 3.7 out of 5.
After the impressive musical film Annette, Leos Carax returns with C’est pas moi. A 42-minute medium-length film initially intended for the George Pompidou museum, this more personal project answers a question as existential as it is dizzying: “Where are you, Leos Carax?”
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Released this week in our cinemas, C’est pas moi was well received by the French press since its average is 3.7 out of 5 (on AlloCiné, as of Friday June 14 and for 18 reviews), ahead of the thriller with Kristen Stewart Love Lies Bleeding and the prison documentary Tehachapi.
What is it about ?
For an exhibition which ultimately did not take place, the Pompidou Museum asked the filmmaker to respond in images to the question: Where are you, Leos Carax? He attempts an answer, full of questions. On him, his world. I don’t know. But if I knew, I would answer that…
What the press thinks:
According to Le Monde:
“The filmmaker does his introspection in a montage film where he widely deploys his sensory imagination.” (Jacques Mandelbaum) 5/5
According to Cahiers du Cinéma:
“It’s not me documents the dizziness of a filmmaker playing with images that lose their meaning, are emaciated. We only see the other side, the production against a background of darkness. Where is he, Leos Carax ?He cries and laughs in a big nowhere, where it’s completely dark.” (Yal Sadat) 4/5
According to L’Obs:
“The transgressive and heartbreaking essay of Godard’s spiritual heir.” (Nicolas Schaller) 4/5
According to La Croix:
“With this 41-minute medium-length film, Leos Carax pays homage to one of his masters, Jean-Luc Godard, while engaging in an introspective essay in the form of a collage of images that spans his career and his inspirations.” (Celine Rouden) 4/5
According to Les Fiches du Cinéma:
“Portrait of the artist as Captain Nemo, brilliant, haunted and asocial, as much as a visit to his mental Nautilus, C’est pas moi is – in a Godardian form – a concentrate of Carax, funny, inventive, inflated, touching, and by there itself constantly stimulating.” (Nicolas Marcadé) 4/5
“Breathtakingly beautiful”: rated 3.8 out of 5, this is Leos Carax’s best film
According to Libération:
“Overhung by the ghost of his idol, Jean-Luc Godard, the filmmaker’s medium-length film is punctuated with melancholic images, familiar faces and moving home movie extracts.” (Laura Tuillier) 4/5
According to Première:
“The filmmaker is moved that the images, like our eyes, no longer blink. His film blinks well. Poetic and generous. And through incredibly dense and clear editing, a dizziness occurs. It’s not I’m sure it’s him.” (Thomas Baura) 4/5
According to South West:
“Leos Carax revisits his work without solemnity. He prefers lightness, allusion. For example by making the puppet from his feature film Annette dance to Modern Love, by David Bowie, music from a cult scene from Mauvais sang. He speaks with depth about cinema, about the power of images, he tells us, the gaze needs to rest!” (Julien Rousset) 4/5
According to Les Inrockuptibles:
“In this film populated by ghosts, guilt is one of the driving forces. Guilt of a century. Guilt of certain men. Of these post-Godardian cock-and-the-ass between history, images and “A child-puppet appears again. (Jean-Marc Lalanne) 3/5
According to Le Figaro:
“40 minutes which mix extracts from his own films, intimate story and great History (…), dubious puns and pretentious sentences. It’s not me? Carax doesn’t even take responsibility.” (ES) 1/5
