Masquerade – To have
Dramatic comedy by Nicholas Bedos, 2h14
Declining fame Martha Duvall spends anything but peaceful days at her Moorish villa on the Cote d’Azur. The end of the world is a beautiful place to wait. To make this vacation sweeter, the diva has hired the services of a gigolo, a former dancer who now fancies herself a writer. No one is fooled, not him, not her, and certainly not any of their friends. We pretend.
Nicholas Bedos begets, quotes Somerset Maugham, films creatures on the brink. His camera breaks. He has virtuosity, Sorrentino brilliance. This dreamscape hides nightmarish maneuvers. A hotel manager is kicked out by his friend. Pierre Nini runs in all directions, wears a fake moustache, takes refuge in Negresco, and finally writes a novel in which he does not spare his benefactor. Masquerade It’s brutal and beautiful, with breathtaking gameplay. Invention does not stop for a second. The script pulls the carpet from under the feet of the audience, fascinated by deception.
It’s necessary – To have
Drama by Lofty Nathan, 1h22
Twenty-year-old Ali earns his living by selling contraband gasoline on the black market. He has rage and dreams from another place. There, on the shores of the Mediterranean Sea, the sea winks at him. She inspires and inspires him as he, consumed by the frustrations of an unfinished revolution, contemplates this window into a possible tomorrow. But family fate catches him and burns him.
Everything in Lofty Nathan’s film is carefully researched, crafted to bring the viewer as close as possible to this life of hope and hardship. A life whose very name It’s necessary, immediately announces the color. The Arabic word means “to burn”. In Tunisian slang, it also means a migrant who makes an illegal crossing by boat. Ali, its main character, will not be able to do this.
Pamphyr’s Oath – To have
Drama by Dmitry Sukholitky-Sobchuk, 1h42
Pamphyr’s Oath, which featured in the Directors’ Fortnight at the recent Cannes Film Festival, was written and filmed before the war. Between Western and film noir, he directs Pamphyr, a giant with a drooping moustache, in his homeland, in the countryside of the Ukrainian border, after an absence of many months. He finds his wife, his son, and his village, under the yoke of Orestes, a kai for the sake of Greek tragedy. Violence, smuggling and corruption. A less than idyllic vision of Ukraine at a time when Ukrainians are fighting for their country.
Pamphyr is both a sacrificial father and a terrible bear. One spectacular scene, both brutal and choreographed, shows her fighting Orestes’ henchmen alone. We’re hardly surprised to learn that before studying film at Kyiv University, Dmitry Sukholitky-Sobchuk devoured the films of Dogme 95, the movement founded in 1995 by Danes Lars von Trier and Thomas Vinterberg, then young and unruly. supporters. raw mold cinema.
A dress for Mrs. Harris – To have
Comedy by Anthony Fabien, 1h56
What if a romantic comedy without Prince Charming turned out to be refreshing? In this adaptation of American Paul Gallico’s cult novel, the object of desire is clothing. Ada, widowed by World War II, spends her days mechanically. This London housekeeper’s heart starts beating again when she sees a Dior dress in her employer’s wardrobe. Against all odds, Ada saves up to go to Paris and buy clothes from a high fashion label. This graceful and old-fashioned ode to renaissance and resilience recruits the remarkable Leslie Manville alongside Isabelle Hooper as a crazed saleswoman, Lambert Wilson as a benevolent aristocrat and Lucas Bravo as an idealistic accountant. Postcard Paris with funny little face, white thread stitched plot, of course sparkling. But there is the charm of her magnanimous heroine with tremendous sincerity who never loses her dignity.
Close – Avoid
Drama: Lucas Donti, 1h45
We are in the village. Remy and Leo are 12 years old and best friends. They use their summer vacations to play with wooden swords and racing bikes. Remy plays classical music and Leo is his biggest fan. Entering the sixth grade marks the end of this simple happiness and this cute complicity.
Lucas Dont, the Flemish Xavier Dolan, ostentatiously practices the art of understatement. He proceeds with small steps. Short sequences, all of the same duration, each with its own function, such as boxes. Between two sessions of ice hockey, a brutal sport that crystallizes Leo’s virile drift (in addition to video games), guilt gnaws at the boy as he faces Remy’s mother’s grief. Lucas Dont is a fan of Celine Ciamma. He could be Javier Dolan’s cousin, more pain and less hysterical. Or even the Dardens’ little brother. A sentimental little brother who will love violins, sunsets and runs through flower fields.
Amsterdam – Things to avoid
Police officer David O. By Russell, 2h14
An interesting cast (Christian Bale, Margot Robbie, John David Washington), an uneven but sometimes inspired director (David O. Russell, director of “Kings of the Desert” and “American Horror Story”), an anti-American plot, and a small Robert De Niro role. All that for a cop comedy that’s horribly plodding along with the actors painfully running around. A beautiful mess.
You won’t get my hate – Avoid
Drama by Kilian Riedhoff, 1h43
Fiction hasn’t exhausted the subject of terrorist attacks, but You Won’t Have My Hate doesn’t add much after the excellent Revoir Paris and Novembre. Adapted from the book by Antoine Leiris, whose companion and mother of his son died in the Bataclan, Kilian Riedhoff’s film does not always shy away from pathos. On a similar theme, Amanda by Michael Hers with Vincent Lacoste is much more subtle and moving.
Source: Le Figaro
