Babylon, Youssef Salem is successful, Our suns: New in cinema this week

Babylon, Youssef Salem is successful, Our suns: New in cinema this week

What to see in theaters

THE EVENT
BABYLON ★★★☆☆

By Damien Chazelle

The essential

Damien Chazelle plunges back into the turbulent times of the transition from silent to talking to sign a thunderous fresco on the Hollywood of the time, populated by moments of bravery

The fifth feature by Damien Chazelle starts off flat out. And the 45 minutes preceding the arrival of the title on the screen constitute a moment of dizzying bravery, a dive into the bacchanalia of Hollywood of the 1920s where Chazelle recounts with a rare crudity for a Hollywood film of the 2020s a decadence and a totally assumed depravity, while this world is about to change era with the transition from silent to speaking, reshuffling all the cards. Speaking of this leap into the unknown, Chazelle obviously recounts today’s Hollywood and this seventh art whose death some people predict, as so often through the years. And the way he questions the relationship to nostalgia – already at work in La La Land – turns out to be fascinating, far from the banal “it was better before”, in a mixture of fascination and dread, with a totally assumed fresco side. Difficult to sulk his pleasure in front of this gesture of distraught but lucid lover of the seventh art.

Thierry Cheze

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FIRST TO MANY LOVED

EARWIG ★★★★☆

By Lucile Hadzihalilovic

In a dismal apartment, Albert, a mute man, takes care of Mia, a little girl with icy teeth. One day, he receives a phone call from the Master, who tells him that the child must prepare to leave… After Innocenceafter EvolutionLucile Hadzihalilovic ventures ever further into a singular and fascinating cinematographic underworld. Earwig works, from its credits, on a process of bewitching the viewer: we enter the film as we grope our way through a very dark night. Crossed by enigmatic characters, symbolic images, temporal distortions, it is a tale about repression, buried traumas, which must be reconstructed afterwards, after the session, as one tries to give meaning to a dream. . A great moment of hypnosis and dread, a visual and sound splendor in the tradition of David Lynch and Nicolas Roeg.

Frederic Foubert

THE SECRET OF THE PERLIMS ★★★★☆

By Ale Abreu

With The Secret of the PerlimsAle Abreu (The Boy and the World) tells the odyssey of Claé and Bruô, secret agents of the Kingdoms of the Sun and the Moon, charged with spying on the army of Giants who have set out to conquer their magic Forest… An odyssey in the form of a science fiction tale, including the primary colors, the apparently marked script and the charming findings should not deceive you: Abreu knows perfectly well where he is taking us, towards a final twist which confirms the resolutely ecological and anti-militarist tone of the whole. A bias that is inseparable from the simple visual and narrative pleasure that The Secret of the Perlims. Where a big studio would have played on the possibilities offered by the opposites embodied by the two little heroes in order to make an ode to friendship, the film manages to go beyond this simple dynamic of buddy movie animated to serve a real political purpose. A thrilling success.

Sylvester Picard

FIRST LOVED

YOUSSEF SALEM IS SUCCESSFUL ★★★☆☆

By Baya Kasmi

Youssef (Ramzy Bedia at his best) is a writer whose largely autobiographical latest novel has met with unexpected success. Invited on the sets with the image of the son of immigrants from working-class neighborhoods slung over his shoulder, he seems perfectly soluble in this media bath. The scenario could stop there and point out the ridiculousness of a necessarily ideal representation which cracks everywhere. But the main challenge of a good comedy is to know how to operate a constant movement and therefore, a shift. And here, eyes soon turn to Youssef’s relatives to observe how the family will try to reclaim a respectability that the novel, through its intimate revelations, would have betrayed. One of the main tensions of the film is also to succeed in hiding said novel from Youssef’s parents so as not to shatter their dreams of fully successful integration. And by digging into all the possible situations, Baya Kasmi manages to gradually pack the machine.

Thomas Bauras

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OUR SUNS ★★★☆☆

By Carla Simon

Carla Simon is passionate about family. After having made it the heart of his first feature, Summer 93 – awarded in Berlin in 2017 – the filmmaker plunges with her second – Golden Bear in February – into the daily life of a tribe, the Solé who, for generations, have come together to spend their summers picking peaches on their farm in Alcarràs, a small village in Catalonia. And through the tensions that will cross them when the agricultural crisis destroys this type of small farm, the filmmaker recounts with great mastery the final convulsions of an old world that is dying and the inevitable quarrels between those who prefer to sink with the Titanic and those who decided to change the paradigm. Two hours without ever pulling the line. A great social and political film that never sacrifices its characters to its subject and goes through the intimate to tell the universal.

Thierry Cheze

GOOD-BYE ★★★☆☆

By Atsuko Ishizuka

Two childhood friends reunite during the summer holidays, on the return of the first from Tokyo where he is studying. A duo joined by a third sidekick, to organize their annual fireworks… who will find themselves wrongly accused of having started a forest fire and push the trio to go and find – to prove their innocence – their drone which has everything filmed before being blown away. Thus begins this initiatory tale carried out at full speed over a journey where, over the minutes, their joyful youthful insouciances give way to more distressing or more tragic soil. Atsuko Ishizuka shines there by her talent to assume the melody and the beauty of her animation, in particular those of the shots of nature, character in her own right of the adventures experienced by this trio. Good-bye recalls with infinite delicacy the pain that often accompanies leaving childhood.

Thierry Cheze

THE SONG OF THE LIVING ★★★☆☆

By Cecile Allegra

Free, sensitive, on edge, colorful, big, strong. The Song of the Living is a bit of all of these. Mainly healthy. Cécile Allegra films refugees from sub-Saharan Africa, returned from the road to hell, stranded in Aveyron, within the virtuous association Limbo. The little troupe gradually abandons the traumas of exile and unites for the time of a summer song while recounting facing the camera, eye to eye, the dread of the crossing. A documentary not to be missed.

Estelle Aubin

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FIRST TO MODERATELY LOVED

BRILLIANT ★★☆☆☆

By Sylvie Gautier

For her first feature film, Sylvie Gautier has chosen to tackle the subject of illiteracy and the shame it can engender in those who suffer from this handicap. In this case here a housekeeper whose very busy daily life between her night work and her 17-year-old son will change when the announcement of the takeover of the company that employs her and the impossibility that will prevail it is up to her to make the demands of her colleagues heard in writing without daring to admit the reason. But out of this enthralling dilemma on paper, the director makes a film that is too programmatic, too scholarly, to convince and go beyond a film about the subject. And this despite the quality of its actresses, Céline Sallette and Eye Haïdara in the lead.

Thierry Cheze

THE LULUS WAR ★★☆☆☆

By Yann Samuell

Eleven years after his version of The War of the Buttons, Yann Samuell undertakes again to film at the level of children by bringing to the screen the comic strip of Régis Hautière narrating the adventures rich in adventures of a group of orphan friends left to themselves in the heart of the First World War by trying by all means to reach Switzerland. Although programmatic and seeking to bring in too many twists and turns in two hours of time, the story has the merit of never evading the violence of war and the corpses it carries along its way. And if Samuell sticks with the honors of the spectacular scene of the crossing of the trenches, his direction of the young actors turns out to be much more hazardous and the inequality of the interpretations of the children – especially in the face of a more than solid adult cast (Isabelle Carré, Damiens, Bourdos…) – spoils a good part of the film.

Thierry Cheze

And also

blue beauty, by Ronan de Suin

Clan, by Eric Fraticelli

In broad daylight, by Lysa Heurtier Manzanares

Inseparable, short film program

My pal, by Marjory Déjardin

Recovery

The Snakeskin Man, by Sidney Lumet

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