Love Lies Bleeding, Juliette in Spring, Les Guetteurs: what’s new at the cinema this week
What to see in theaters.
THE EVENT
LOVE LIES BLEEDING ★★★☆☆
By Rose Glass
The essential
Kristen Stewart flies through this strange lesbian thriller with a gently heady charm orchestrated by the director of Saint Maud
Welcome to 1989 with Lou, who is languishing in her job as manager of a seedy gym in a rotten suburb of Albuquerque where everything seems blocked. Until the day when Jackie (fantastic Katy O'Brian), a bodybuilder, pushes the gym door. Love at first sight almost as immediate as trouble. Their traumas resurface in the form of Lou's dysfunctional family – her abusive brother-in-law and her abusive father… There are two films in Love Lies Bleeding. First, a real 80s neon thriller, influenced by James Cain and David Goodis. Before this neo-noir shifts towards the strange, the gory and the bizarre with these images and sounds marked with the seal of the supernatural. We don't really know where we're going but we could go until the end of the night to follow Lou, undoubtedly Kristen Stewart's greatest role, incandescent and cool as ever.
Gaël Golhen
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PREMIERE LIKED A LOT
JULIET IN SPRING ★★★★☆
By Blandine Lenoir
This adaptation of the superb graphic novel by Camille Jourdy Juliette – The ghosts return in spring stages an illustrator who, going through depression without really knowing why, returns to spend two weeks in the town of her childhood where she reunites with her family and will gradually discover secrets buried deep in her memory… In an almost miraculous way, the artistic direction of Blandine Lenoir marries marvelously the tragicomic universe of the original novel and gives rise to a particularly moving adaptation. And at the heart of this eventful family odyssey, Izïa Higelin sparkles in the title role thanks to her melancholic and questioning gaze.
Damien Leblanc
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IT'S NOT ME ★★★★☆
By Leos Carax
In view of an exhibition, the Center Pompidou once asked Leos Carax this question: “ Where are you ? » The related exhibition did not take place, his response therefore comes to us free of all decorum. The ghost of Godard presides over the affairs of this deliberately quotational medium-length film where it is as much the post-JLG period as the future of Carax that is questioned. 44 minutes of vertigo where Boys Meets GirlOr The Lovers on the Bridge, where Denis Lavant, young and old, runs, before Baby Annette moves towards her destiny by mimicry. A poetic and generous film.
Thomas Baura
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FIRST TO LIKE
GLORIA! ★★★☆☆
By Margherita Vicario
A specialist in musical history and herself a composer, Margherita Vicario focuses with this first film on the orphanages of Venice, places which provided high-level musical training to young girls in the 19th century. But the interested parties did not have the authorization to then make music their profession… To honor this hidden memory, the filmmaker imagined the destiny of Teresa, a young resident of the Sant'Ignazio Institute with a very good ear. fine. While a concert is being prepared in honor of the Pope's visit, Teresa discovers the pianoforte and invents a musical freedom that will revolutionize the life of the Institute. Offering a sensory journey through time, this costume story surprises with its explosive soundtrack and invigorating editing. And benefits from a superb performance from Galatea Bellugi (Dog of the breakage) Who plays here in Italian and touches the heart.
Damien Leblanc
HAIKYU!! THE TRASH WAR ★★★☆☆
By Susumu Mitsunaka
A priori, nothing complicated: two high school volleyball teams face each other in HAIKYU!! The Garbage War, and like any good shonen, it's going to be particularly spectacular. Except that the film is in reality the conclusion of an animated series, and as such, proves a bit difficult to access (there are a ton of characters, quite complex, to follow) if you haven't caught up the previous 85 episodes. or if you are not a fan of the comics. The film, like the series, does not seek to reproduce the particularly vigorous trait of Haruichi Furudate: we are in a hyper square product, without genius, but very professional (it is the venerable studio Production IG at the helm ). We therefore stay far from The First Slam Dunkwhich made a basketball court and its players a real artistic challenge, but the vigor of the staging and the modesty of the subject (the leitmotif of the film: it's only a volleyball match, no one will die because of a failed service) makes this Haikyu downright nice, in fact.
Sylvestre Picard
THE FIRST DAYS ★★★☆☆
By Stéphane Breton
Who are they and what do they do? To answer this simple question, The first days relies everything on the meticulous observation of its spectator. Without dialogue and especially without voice-over, this documentary aims to tell the daily life of algae collectors on the northern coast of Chile. The sea on one side, the desert on the other, we follow a group with almost no material attachment (two or three carcasses of cars or other human creations), in their smallest actions and gestures, reproduced in all their precision. The film is not, however, silent: because while documenting life on site, it above all records the anarchic ballet orchestrated by nature, with waves, stones, wind… It is a poetic and meditative intention that initiates the project , perhaps too free in its form to achieve the honorable ambition that it had set for itself at the start.
Nicholas Moreno
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FIRST TO MODERATELY LIKED
THE WATCHERS ★★☆☆☆
By Ishana Shyamalan
For her first feature, M Night Shyamalan's daughter decided to go hunting directly on her father's land with a fantastic and semi-horror thriller. We follow Mina, a somewhat lost young woman whose car breaks down in the middle of the forest and who finds refuge in a building that looks like a bunker, already occupied by three people and where every night, the inhabitants must allow themselves to be observed through a one-way mirror by the mysterious occupants of the forest… Occupants who very quickly wonder if they really exist. The limit of this scenario, which one might believe came from the brain of M. Night Shyamalan, is that we spend a lot of time drawing parallels between the father and the daughter. And that in this little game, Ishana does not come out completely a winner: if her ample camera movements allow her to emancipate herself from her progenitor, her management of suspense (in the production as in the screenplay) has difficulty in doing so. keep the comparison. The rather solid performances of Dakota Fanning and Georgina Campbell won't do much: without a sharp angle to hold the boat (the desire to marry fable and horror is not enough to match the Guillermo del Toro of Pan's Labyrinth despite an obvious desire to get closer), The Watchers fbegins by slowly collapsing under its literalness and far too many explanations in the last 45 minutes.
François Leger
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PARADISE PARIS ★★☆☆☆
By Marjane Satrapi
Associated with Vincent Paronnaud at the start of her career as a director, Marjana Satrapi has been flying on her own for a decade now. But there is no question of being lonely: for Paris Paradise, she surrounds herself with a monster cast – Monica Bellucci, Rossy De Palma, Ben Aldridge, André Dussollier, Roschdy Zem, Alex Lutz… This beautiful mosaic of actors, the filmmaker uses to construct an choral film where only one element connects the characters together: death. Everyone faces it, from near or far, in a tragic or comic way. A certain melancholy emerges from these destinies which cross without ever converging, but quickly, Paris Paradise slips and gets bogged down in its overflow of characters. The result is a film which, by wanting to show too much, ultimately doesn't tell much, except the nice talk of death which gives back a taste for life.
Lucie Chiquer
EXCURSION ★★☆☆☆
By Una Gunjak
The school environment seen as a precipitate of the ills of a society. Hardly a week goes by without our screens telling us through adolescent dramas the violence of our present. The action ofExcursion takes place in Sarajevo. Iman, the heroine, for having lied about a relationship with her boyfriend during a game with her college friends, finds herself caught in a spiral which will soon go beyond the simple framework of her microcosm. Parents, already scalded by a story read in the newspapers about young girls who simultaneously became pregnant during a school trip, are tightening their vigilance. Una Gunjak's camera, in her first feature film, remains focused on her young heroine without quite succeeding in making us fully feel the torments that assail her. The fault is an overly programmatic scenario which struggles to rise above its subject. Damage.
Thomas Baura
Et also
The Smugglers, by Jacques Deschamps
The covers
Dusk, by György Feher
