“Our suns”, “Earwig”, “Goodbye”, “The Song of the Living”…

“Our suns”, “Earwig”, “Goodbye”, “The Song of the Living”…



A wide variety of films are offered to viewers this week: a family of market gardeners who lose their land (Our suns), fabulous on-screen monsters (Earwig), a family comedy (Youssef Salem is successful), a melancholic teen movie (Good-bye) or even a dark and joyful documentary (The Song of the Living).

“Our suns”: the solar panels that eclipse the orchards

Catalonia, summer 2021. The Solé family cultivates peach trees on the basis of an oral oath established during the Spanish Civil War. But, since the death of his father, the owner plans to raze the trees and build a photovoltaic farm. Devastating shock for the tribe of farmers who are struggling to compete with industrial agriculture. At the start of the school year, the orchard taken for granted will look like an oil spill of silicon. Against nature, the ecological industry is gaining ground. Faced with this premature end, the Solé have nothing else to do but finish the last harvest.

In her second feature film, awarded the Golden Bear at the Berlin Film Festival in 2022, the 36-year-old Spanish screenwriter and director returns to the rural village where she grew up, Alcarras (which gives the film its original title ). The great strength of Our suns is due to its ability to escape the theoretical and militant partitions of the ecological subject. If the film presents itself a priori as such, it favors the portrait of the family at the height of a man. It is teeming with scenes of work, chatter, games and siestas, which highlight the attachment of the Solé clan to the farm, from which we hardly ever leave. It is with astonishing fluidity that Carla Simon anchors herself to the daily life of each of the members, without any hierarchy, going through small individual storms within the community and skillfully composing a palette of secondary intrigues. Mr. Dl.

Spanish film by Carla Simon. With Anna Otin, Albert Bosch, Ainet Jounou (2 hours).

“Earwig”: fabulous monsters on the screen

The bizarre universe of Lucile Hadzihalilovic – Innocence (2004), Evolution (2015) – is populated by children living apart from the world, in “outside places” that are more oppressive than protective. Between Franju and Cronenberg, Earwig, his third feature film, offers a most disturbing experience. Mia (Romane Hemelaers) lives in a house with closed shutters, takes care of herself, knows nothing of the outside world. His daily life is punctuated by a strange ritual scrupulously carried out by Albert (Paul Hilton), a tormented but benevolent man. Mia’s pretty face is indeed holed by a toothless mouth, like a variation of the heroine (Edith Scob) of Franju’s masterpiece, Eyes without face (1960): the little girl wears an unusual device that collects her saliva in two small bottles located at the ends of her mouth. Every day, Albert takes the precious liquid which, once refrigerated, will be used to manufacture the teeth. But one day, Mia’s jaw must be equipped with glass teeth.

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