What to see in theaters
By Mario Martone
Carried by the tenebrous Pierfrancesco Favino, the hero of Traitor, this Neapolitan drama with assumed darkness plunges us into the physical and mental labyrinth of a man haunted by his past. Magnificent.
This adaptation of a novel by Ermanno Rea is the story of an impossible return. Felice (Pierfransesco Favino) reappears after 40 years of absence in the place where he grew up, in Naples. Nothing has changed much, the scars on the walls are the gaping traces of a past eternally reactivated under the folds of a present under glass. And Felice, whose secret past is being rebuilt as the noose tightens around him, seeks to see again the man who was once his alter-ego, the neighborhood godfather. An evil double of himself, prisoner of the Sanità, which the protagonist therefore intends to confront. The nostalgia of which the film speaks does not express regrets linked to the fantasies of memory so much as the way in which reality, although loaded with old stories, fails to show anything other than its ugliness. Felice – happy in Italian – is lost in the rubble of his roots. It was a Neapolitan who dared to remove his mask. Magnificent.
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THE SURVIVORS ★★★☆☆
By Guillaume Renusson
For his first feature film, Guillaume Renusson has chosen to take hold of an often tragically topical theme – the fate reserved for illegal refugees on the Franco-Italian border – but with the judicious idea of bringing together two stories of survivors. A woman who has fled Afghanistan and tries to cross the border while escaping the surveillance of a band of fachos and a man who, consumed by guilt after the death of his wife, leaves to isolate himself in a lost chalet, in the mountain. The survivors transcends both intimate drama and societal film to metamorphose in a fluidity never faulted in alpine survival where the duo will have to compete in courage, ingenuity and transcend their suffering to escape the clutches of their pursuers ready to anything to stop them in their journey. Staged without embellishment, effective but never simplistic, The survivors also relies on a major duo, Denis Ménochet and Zar Amir Ebrahimi. The alchemy that unites them plays an essential role in the strong impression that emanates from these Survivors– the.
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16 YEARS OLD ★★★☆☆
By Philippe Lioret
In 1987, in full rise of the FN, Gérard Blain signed Peter and Djemilaha Romeo and Juliet in the heart of a city of Roubaix which embraced the questions of racism increasingly present in the national debate. In 2022, in an even more divided France, Philippe Lioret ventures on the same ground for his return after 6 years of absence. A love story between two high school students, Nora and Leo, made impossible by Nora’s macho big brother who can’t stand being fired by Leo’s father, boss of a hypermarket as well as by the latter who forbids his son to see the sister of the one he likens to a caïd. And while revealing two amazing young actors of presence and accuracy – Sabrina Levoye and Teïlo Azaïs -, Lioret knows here remarkably how to raise a suffocating tension over the overwhelming destiny of these two cursed lovers without ever lapsing into clichés.
THIS SUMMER ★★★☆☆
By Eric Lartigau
That summer was when everything changed in the life of Dune, 11, who was impatiently awaiting July to spend her holidays with her best friend Mathilde, 9, in the Landes, the first crossing France with her family to join the second who lives there. Because that summer, several things went wrong. The less and less hidden couple crisis experienced by her parents, Mathilde who is slow to grow up while Dune looks more and more, with envy, towards the grown-ups, these local teenagers who are experiencing their first love. By adapting an eponymous Japanese comic strip signed by Jillian and Mariko Tamaki, Eric Lartigau venture into the bottled terrain of the passage from childhood to adolescence. And like his previous film, #I’m herehis never cutesy sensitivity allows him to find the right tone and the right distance – always at the height of children, never from the point of view of adults – to tell this moment of loss of innocence, where the sentences of the greatest who passed over your head suddenly come to impact you.
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By Mathieu Vadepied
Between 1914 and 1918, 200,000 so-called “Senegalese” riflemen joined the ranks of the French army and 30,000 did not survive. In a gesture of Native, Omar Sy wanted to develop his very first production around this subject, by playing a father who enlists in the army to join his 17-year-old son, recruited by force. Directed with sobriety but not without power – especially in the battle scenes – by Mathieu Vadepied (Big Life), Skirmishers is seen both as a war film and the chronicle of a father-son relationship with a relationship reversed by the butchery of combat, the son, galvanized by the warrior madness of a lieutenant, becoming his father’s rough superior , Certainly the educational ambition that underlies such a project sometimes takes precedence over the cinema but without damaging its emotional power, just because it is never forced.
PROFESSOR YAMAMOTO RETIRES ★★★☆☆
By Kazuhiro Soda
The renowned Professor Yamamoto, a pioneer of psychiatry in the 1960s in Japan, perched on his cane, is preparing to retire at the age of 82. This documentary observes him announcing his departure to his patients, often distraught, sometimes grateful. You have to see these men and women, curled up on themselves, tearful, fighting against their demons. Opposite, the Professor is their recourse. But the old man leaves. A delicately poignant film.
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FIRST TO MODERATELY LOVED
COME TO SEE ★★☆☆☆
By Jonas Trueba
In 2019, Jonas Trueba signed with Eva in August the peak of his filmo, a perfect blend of cerebrality and sensuality. Since then, he has never succeeded in recreating this fragile balance. After the endless Who besides uskind of under teenage girls, come to see stages two couples and their exchanges on life, love, art… There are undeniable flashes here and there but once again the cerebral nature crushes everything and gives birth to a film which sometimes seems to watch its spectators from above.
By Arnaud Riou and Maud Beignères
Wide shot of the golden plains of Mongolia. Cut. Face-to-face testimony from Buddhists, shamans or other spiritual storytellers in front of a black background. Cut. Nicely silly close-up of a snow-white branch or a crackling flame, like a Windows wallpaper, while the experts on invisible souls finish their logorrhea. The documentary by Arnaud Riou and Maud Baignères, dominated by an imperious voice-over, is as classic as it is didactic. Suffocating even.
THE STRANGE STORY OF THE WOOD CUTTER ★★☆☆☆
By Mikko Myllylahti
It starts like an episode of the series Fargo : a bled lost in the middle of the snow, down jackets, sleepovers, an economic crisis… But very quickly, we plunge into the middle of a dream, or rather into the middle of a nightmare, with dreamlike flights and long static shots punctuated by obscure visions nonsense (and vice versa). It’s not so bad, basically, but still a bit too pompous to convince.
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RADIO METRONOM ★☆☆☆☆
By Alexandru Belc
Bucharest, 1972, under Ceaușescu. Romanian youth are in search of freedom and Ana joins her friends at a party, where the small group sends a letter to the radio music program Metronom, which smuggles rock hits. But the secret police, the Securitate, suddenly arrives… Documentary director and scriptwriter for Cristian Mungiu or Corneliu Porumboiu, Alexandru Belc signs his first fiction. One coming of age movie on the denunciation and the end of innocence under a dictatorship, which only reaches its goal in a few too rare moments between the heroine (Mara Bugarin, real discovery) and the officer who interrogates her (Vlad Ivanov, always flawless). Although rewarded at Un Certain Regard, the staging, modest to excess, is in such a refusal of highlighting that it ends up stifling the film.
On the other side of the wall, by Tiburce
My dear spies, by Vladimir Leon
Mobile Suit Gundam: Cucuruz Doan’s Island, by Yoshikazu Yasuhiko
Laura, by Otto Preminger