Mine, Without Bear, Saint Omer… Movies to watch or avoid this week

My – To have

Drama: Roshdi Zemi, 1h25

In front of and behind the camera, Roshdi Zem talks about the trauma of his loved ones after his brother’s accident. Musa is no longer the same. He who was gentleness, understanding incarnate, now after the fall he shakes his four truths to all. The pill is quite hard to swallow. At first we apologize for him. She is in the process of divorce. It’s going badly. The woman does not report any more news. The abandoned husband goes out to the club, gets drunk on the dance floor. Ethyl coma. He will not recover. Hitting his forehead is just a symptom. A nice senior manager becomes obnoxious, excitable, unmanageable. It started with a birthday lunch. Between two bites of the cake, the siblings argued. The conspirator’s son was talking nonsense. We were used to it. Today he claims that the Americans have never been to the moon. We knew that Rayad, a television sports reporter, was the most selfish of the tribe, thinking only of his work. He will be by his younger brother’s side, take matters into his own hands. With Les Miens, perhaps the best French cinema is bringing us at the moment, Roshdi Zem depicts the most mundane of tragedies. His film uplifts the hearts. It rings true. It is true. One has to see it. It will surprise you. IN.

No bears – To have

Drama by Jafar Panahi, 1h47

While Iranian director Jafar Panahi has been behind bars since July 10, his latest film. without bears goes out to the room. In this story, filmed before the uprising in his country, he plays the exile. A step that he does not want to take, unlike his son Panah, who has just moved to France. In No Bear, the filmmaker directs himself, filming from afar, with one eye glued to the computer to direct the actors, from a border village. Several comedians are trying to get passports to escape from Iran. In the village where Panahi takes refuge, several lovers are caught between a deadly patriarchy, tradition and superstition. Neither bear is particularly pessimistic. But it was filmed before the uprising, and Panah Panahi wants to believe there is hope today. E.S.

bad girls – To have

Documentary by Emerance Dubas, 1h11

“We escaped from the institute and I ended up in prison for a week before they sent me back…” Fabienne, like the three other women in this film, recounts her childhood spent in Good Shepherd institutes, where the “bad girls”—the ones we thought of as similar—were educated by nuns with hearts as cold as bed rails. dormitory At least most of them were like that. It would be interesting to ask about that. This congregation was born in the first half of the 19th century^e century worked until the 1970s to “save from sin” girl-mothers, abused, runaway, abandoned girls. Evelyn reread her parents’ terrifying letter to the director that qualified her “volatile”.“Everything is a lie…”, he says six decades away. The camera slowly climbs the steps of one of these now-ruined reformatories, visits the chapel, and then the bathroom, where scabs have been removed from the little girls with the strokes of a “brush brush.” Daily cheating was common. Residents, as this neat documentary by Emerance Dubas proves, not all escaped unscathed. BP:

He said – To have

Drama by Maria Schrader, 2h09

Zoe Kazan and Carey Mulligan camp, with effective sobriety, to reporters New York Timeswho broke Hollywood’s omerta on harassment and sexual assault. On October 5, 2017, leading reporters Megan Toohey and Jodi Cantor detailed how for decades Hollywood rock and roll producer Harvey Weinstein bought the silence of the women he assaulted. Such a rigorous legal publication paper was based on many months of unseen investigation. In a tribute to journalism and the courage of victims, Maria Schrader ( I’m your man ) avoids the trap of fragility and moralizing. Harvey Weinstein only briefly appears behind. The camera pans the hallways and hotel rooms as the testimonies echo. He said offers a vision of journalism on the big screen less embellished than usual. The door-to-door physical and telephone ban, from Los Angeles in the United Kingdom, is prompting pleas of inadmissibility fueled by fears of exposure to Weinstein and his confidentiality agreements. The journalist duo accumulates sleepless nights and shortened weekends. The film unleashes as much muted rage as light in a memorable double-shirt. CJ:

Operation Santa Claus – To have

Animated film by Marc Robinette, 43 minutes

The son of very busy and wealthy parents, eight-year-old William asks for a gift that would seem impossible: Santa Claus himself. Accompanied by Alice, his little neighbor with more modest ambitions and a “real” elf, the boy embarks on an adventure that will make him grow up. Alain Gagnol’s story goes beyond a childhood dream to make young audiences think. Marc Robinet directs it with delicacy and tenderness. The smooth designs and soothing colors are fabulous. Perfect before the holiday season. N.S

Inu-Oh – see

Japanese animation prodigy Masaaki Yuasa ventures into a daring ballet between musical film and historical fairy tale. The rock opera invites itself to medieval Japan. The child, Tomona, becomes a biwa player, a type of ancient Japanese lute, in a group of monks. He finds inspiration in a startling encounter with Inu-Oh, a strange Quasimodo-like horn about his age. Together, they intend to revolutionize music.

The menu – You can see

Thriller by Marc Mylod, 1h48

After the road movies, the food movies. Director Marc Mylod presents the plot of this feature film in an extremely select restaurant hidden on an island off the east coast of the United States. Hawthorn hosts about ten guests at each service. A $1,250-per-person meal (including drinks) will turn sour quickly, but pouring too much blood into the sauce isn’t enough to tie it right. Even if some scenes remain enjoyable, such as the leek lamb cutlet scene, the social score setting ultimately leaves the viewer unsatisfied, despite an impeccable number from boss Rafe Fiennes, which is completely bonkers. Stereotyped characters, far-fetched plot, it’s less subversive than Party(1973); the epitome of pastiche, the gray style that Ratatouille , we expected better. What’s funniest is how the film pokes fun at the fashions and bloat of modern haute cuisine. SDS

Bones and all – You can see

Drama by Luca Guadagnino, 2h11

Young Maren (Taylor Russell) searches for her mother to try to understand the origin of the taste of fresh meat. He crosses paths with Mark Rylance and especially Timothée Chalamet (star Sand dunesidentified by Guadagnino Call me by your name ), cannibals like him and condemned to a marginal existence. The two cannibals criss-cross the United States, occasionally stopping for a gastronomic rest. Guadagnino alternates between romantic (guitar ritornello) and gore (scary music). How to find one’s place in the world with such a diet? A serious matter has already been resolvedCruel the very first film of Julia Ducournot, with more nerves. E. S.

Rimini – You can see

Comedy by Ulrich Seidel, 1h55

Michael Thomas does not have Alain Delon’s figure. He is not playing a teacher. But like in Valerio Zurlini’s film, he walks in winter in Rimini, an Italian city on the Adriatic coast, battered by wind and rain. Old Austrian singer Richie Bravo is pushing the song for pensioners in seedy hotels when he’s not hiring out his services as a gigolo. Tessa, his daughter, comes with this boring routine to ask him for money. Alleged bad taste, Huelbeck humor, sad meat, iSweet life Version by Ulrich Seidel. E. S.

Holy Omer– Avoid

Drama: Alice Diop, 2h02

For her first feature film, documentary filmmaker Alice Diop tells the story of Senegalese Fabien Kabou, the infanticide mother of her daughter Adelaide, 15 months, abandoned by the rising tide on Berque-sur-Mer beach in November. 19, 2013 and sentenced to 20 years in prison by the High Court of Saint-Omer. Alice Diop does not stage the news as such. It reproduces the proceedings based on a verbatim transcript of the hearing. He deploys a device that is admittedly very strict (fixed shots and the actors most often facing the camera), but a stiffness and slowness that is quite repulsive. The accused, renamed as Lawrence Kohli (Guslaghi Malanda), is elusive. It is cold, not to say freezing. Alice Diop forgets to embody this story. President Valerie Dreville and Solicitor General Robert Cantarella, a seasoned theater actor, are tough as justices. We will say that they are in their role. It’s even more troubling in the case of Rama (Kaije Kagame), the principal’s alter ego, a college teacher quoted by My Love in Hiroshima and a novelist present at the trial, pregnant and upset by the mirror Laurence Cole holds up to her. E.S.