Dune: part two, The Mother of All Lies, Debacle: What's new at the cinema this week
What to see in theaters
THE EVENT
DUNE: PART TWO ★★★★★
By Denis Villeneuve
The essential
After a mystical and atmospheric first part, Denis Villeneuve brings out the heavy artillery with this second part. And confirms that he is indeed Ridley Scott's most beautiful heir.
In Dune: Part Two, Paul Atréides (Timothée Chalamet) finally sees the future thanks to his powers, and he knows that if he agrees to become the messiah of the Fremens, he will have to give the order to commit the greatest genocide ever seen. And that scares him. And Chani (Zendaya), the love of her life, scares her too because she knows that he is a false messiah, a phony Chosen One, a new oppressor who will only be massacres and genocides. We wouldn't want to take Dune 2 in the field of current events that are too present and too dangerous to get away with it without injury, but it is like this: in Dune: Part Two, everything revolves around genocide. The word becomes mythological there. And if this second part will serve as an all-you-can-eat buffet for haters of the first film, and of Villeneuve in general, at the end of its (almost) three hours, it becomes, likeOppenheimer last year, a huge piece of cinema thought out and invested in, super exciting, a film truly driven by a vision.
Sylvestre Picard
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PREMIERE LIKED A LOT
THE MOTHER OF ALL LIES ★★★★☆
By Asmae El Moudir
This documentary, awarded the Golden Eye at Cannes, was born from Asmae El Moudir's desire to ask a question that had haunted her mind since childhood: why, for a long time, were there no photos of her in her house? She then sets off in search of what her grandmother, the authoritarian matriarch behind this ban, is hiding. In order to get answers, Asmae El Mudir confronts her loved ones with a model of her old neighborhood, filled with miniature houses and figurines. A wildly creative format that allows him to break the silence, get to the heart of the lie, and unravel the secrets that have infested his family from the inside. And this initially intimate film transforms with great delicacy into a duty of remembrance and highlights a forgotten event in the history of Morocco: the bread riots of 1981.
Lucie Chiquer
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EUREKA ★★★★☆
By Lisandro Alonso
Like a puzzle, the overview ofEureka cannot function without all its parts. Three to be exact, totally disparate but which only make sense when intertwined with each other. First, a black and white Hollywood western full of archetypes, where Viggo Mortensen travels through a desert valley in the shoes of a cowboy from a bygone era. The last act takes us to the Amazon of the 1970s to meet the Indians who live there. And in the center, the chapter essential to the understanding of the other two: the night patrol, nowadays, of a policewoman on the snowy roads of a remote Indian reservation in the United States. Complex and daring in its structure, bitter and tragic in its subject, Eureka is aimed at those who have the patience to read between the lines, to connect the occurrences, to finally participate in the final assembly. A collective work of striking beauty.
Lucie Chiquer
FIRST TO LIKE
DEBACLE ★★★☆☆
De Veerle Baetens
The heroine of the heartbreaking Alabama Monroe chose as the start of her career as a director to adapt a novel by Lize Spit, the story of a trauma experienced as a child by Eva, which, buried for a long time within her, will resurface twenty years later with the irrepressible need to settle the accounts of his suffering. Veerle Baetens excels at filming childhood at its cruelest but also those parents who prefer to look away rather than assume the consequences of their children's actions. Debacle speaks with the same acuity of the violent loss of innocence as of the long time it takes to become aware of it. Veerle Baetens always films from a good distance and with relevant framing choices the moral and physical violence distilled here, never hypocritically looking away. As if to support Eva, to tell her that she is not alone and to emphasize that her attackers have not been able to remove such acts from their memory.
Thierry Cheze
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REVIVE ★★★☆☆
By Karim Dridi
It's been nine years and Shouf that we had no news of Karim Dridi on the big screen. This return is made through a documentary where he followed, in the pediatric intensive care unit of the Timone hospital, two pairs of parents waiting for a transplant for their young children: cardiac for the 'one, liver for the other. A delicate exercise full of traps into which he never falls because he is always at a good distance from his characters. Never too far away to achieve its immersive ambition but never too close in order to avoid any voyeurism, while remaining faithful to its bias of remaining focused on parents and making caregivers secondary characters celebrated by the impact of their young and great everyday gestures on these families oscillating between anguish and hope. A winning return therefore.
Thierry Cheze
NOTHING AND NOBODY ★★★☆☆
By Gallien Guibert
Jean, a dealer threatened by his old colleagues, plunges into a wave of violence while fleeing his double life to protect his family. We are then drawn into the breathless journey of a man who seeks to wash away his past, between drugs, neon lights and the cries of his baby. This dark thriller carried almost entirely by Paul Hamy (Maryland) shines with its striking dynamism. With this tense first film which sometimes flirts with the road movie, Gallien Guibert captures the nocturnal comings and goings of his character between Nantes and Saint-Nazaire. And because it doesn't exceed one twenty past one, Nothing and nobody never dwells on its storyline and only keeps the essentials: an effective story that does not seek to be innovative, vibrant photography and charismatic characters. An instant success.
Downhold on Assie
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FIRST TO MODERATELY LIKED
BLACK TEA ★★☆☆☆
By Abderrahmane Sissako
Nicknamed the British Schindler, Nicholas Winton saved hundreds of Jewish children living in Prague by organizing convoys to London, before the city fell to the Nazis in 1938. A gesture that remained little known until that evening in 1988 when the BBC invited him to testify by bringing together those who had survived thanks to him. James Hawes tells this story by moving back and forth between the two eras. The weakness of the staging of the part from the 1930s and the use of painful tearful music suggest that a documentary would have been a more appropriate form. But this option would have deprived us of Anthony Hopkins who played Winton in the 80s. Every second of his presence on screen is at once a delight, a marvel of precision, a peak of contained emotion which explodes here and there. there in a heartbreaking way. But it's not enough to save everything.
Thierry Cheze
MADAME DE SEVIGNE ★★☆☆☆
By Isabelle Brocard
Eager to dust off the ready-made ideas about the Marquise de Sévigné and the French aristocracy of the seventeenth century, Isabelle Brocard (director in 2011 of My night companion) devotes its story to the close relationship between the illustrious Madame de Sévigné and her daughter – named Madame de Grignan after her marriage – and draws on concepts with contemporary resonance by observing in particular what each projects onto the other. If the complex oscillation between desires for independence and the weight of emotional dependence of this mother-daughter duo is skillfully embodied by Karin Viard and Ana Girardot, the staging does not completely free itself from the constraints of the historical film in costumes and s sometimes turns out to be bombastic. So much so that the laudable desire to transcribe the social pressures that women, mothers and daughters have always suffered lacks a little emotional momentum here.
Damien Leblanc
HERTOSHI ★★☆☆☆
By Junpei Matsumoto
Prepare your tissues! Satoshi found himself deprived of his sight and hearing at the age of 18 due to an incurable illness. Inspired by a true story, this Japanese melodrama turns out to be quite accurate when it approaches the illness from the point of view of the mother, the only woman capable of sharing her son's psychological pain. But the story unfortunately deteriorates too much into a tear-jerking atmosphere which weakens the morality of self-acceptance.
Yohan Haddad
FIRST DID NOT LIKE
THERE IS NO SHADOW IN THE DESERT ★☆☆☆☆
By Yossi Aviram
In Tel Aviv, two children of deportees, an Israeli and a French woman, meet by chance during the trial of a Nazi who participated in the persecution of their parents. A misunderstanding later, the Israeli kidnaps the Frenchwoman and tries to reason with her about a past love. If the beginning is intriguing, Yossi Aviram too quickly disguises his film on memory as a tendentious ersatz of Last Year in Marienbad – and fails to find the balance between a thwarted love story and an intimate story about transmission.
Yohan Haddad
And also
Béziers, behind the scenes by Daniel Kupferstein
In the fray, by Matt Carter
THE Titian, the empire of colors, by Laura Chiossone and Giulio Boato
Fallen from the truck, by Philippe Pollet-Villard
The covers
Alice, by Jan Svankmajer
The Weapon on the left, by Claude Sautet
Class all risks, by Claude Sautet
The Floodtion, by Igor Minaev
