Save-or-Perish, The Grinch, The Widows : the films at the cinema this week

Sauver ou Périr, Le Grinch, Les Veuves : les films au cinéma cette semaine

What to see this week.

The EVENT

SAVE OR PERISH ★★★★☆
Frédéric Tellier

The essential
More than a tribute to the firemen, the movie from Frédéric Tellier is especially the portrait upsetting of a man and a couple in the reconstruction

The case of SK1, the previous movie from Frédéric Tellier, who was tracking down the Guy Georges, was in the kind of very american film cops ” as if we were there “, with his bloodhounds ordinary obsessed by the great criminals, in conflict with their superiors psychorigides and their wives are depressed.
Christophe Narbonne

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FIRST LOVED

THE GRINCH ★★★☆☆
Of Yarrow Cheney and Scott Mosier

At the outset, there is, of course, a book : The Grinch who wanted to ruin Christmas, signed by one of the geniuses of american children’s literature, Dr. Seuss. Then in 2000 the first passage to the cinema with a number of zebulon of Jim Carrey in front of the camera of Ron Howard. The Grinch version 2018 reappears on the big screen, but through this time of the animation with the manoeuvre the studio Illumination, the dads of Me, ugly and nasty.
Thierry Cheze

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WIDOWS ★★★☆☆
Steve McQueen

It was well shot so far. Hunger on Bobby Sands, the IRA and the hunger strikes. Shame on sex addiction, New York, the traumas of childhood. And then 12 Years a Slave came all slap it to the ground, turning almost in spite of himself, Steve McQueen in the filmmaker’s black, what’s worse, door-to-speech. He was attacked for it (by what right he, English, even black, could he address slavery in the US ?), it has been celebrated for it (Oscar of the best film in 2014, and emotion). It is mostly found in danger of being reduced to it.
Guillaume Bonnet

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LOLA AND HIS BROTHERS ★★★☆☆
Jean-Paul Rouve

Since When I was a kid, his second film, Jean-Paul Rouve leaves emerge an emotion to the surface of my skin. His favorite subject : family. The memories told with a lot of softness and elegance to the end-of-life of a grand-mother, and his relationship to his grandson. Lola and her brothers is in the same vein.
Sophie Benamon

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GUTLAND ★★★☆☆
Of Govinda Van Maele

A vagabond shaggy finds shelter in a bled luxembourg surrounded by the wheat fields. As decants the troubled past of foreign countries, the latter, nicknamed ” the German “, discovers that his hosts are not in the radius corpses in the closet. On this frame archetypal, the first movie of Govinda Van Maele weaves a thriller rural rather effective, tied around the romance between the newcomer (Frederick Lau, surjoue a bit of the block of granite) and the daughter of the mayor (Vicky “Phantom Thread” Krieps, light). The mysterious atmosphere, full of unspoken, made up the sauce, paranoid crescendo, while delivering a hollow speech iconoclast on immigration, viewed as a pact faustian : to be is to share the guilt of his host country.
Eric Vernay

THE HEIRESS ★★★☆☆
Marcelo Martinessi

“We have often seen great fire of an ancient volcano that one believed too old. “These words Do not leave me might accompany perfectly the first film and the anguish experienced by her heroine. A rich sexagenarian paraguayan who, in bankruptcy after a long time of led large train, sells the goods, sees his companion imprisoned for fraud and is to be found to make the taxi to earn his living. Until his path crosses with that of a charming young woman who will be reborn in her desires forgotten. This portrait of a woman daring to confront their torments, financial and emotional, stands in a hollow that of the elite paraguayan suddenly worried about a tomorrow that déchantent. Confused in its implementation, and a little too barren, The Heiress carries the song with the delicacy careful with which Ana Brown (award-winning Berlin) embodies this inner metamorphosis.
Thierry Cheze

PERMISSION ★★★☆☆
Of Soheil Beiraghi

Paradox : it is Iran that comes to us this beautiful film about the rights of women. The heroine is Afrooz, captain leaping out of the national team of futsal. The young woman calls his team to the final of the Asian Cup but, at the time of shipping to Malaysia, she learns that her husband has revoked his authorization to leave the territory. The strength of the film is not to be a political demonstration, but first a intimate drama. The character of the husband escapes to the caricature of the patriarch, authoritarian, and retrograde. It is a beautiful man, tv presenter, but a wounded man who uses a means of pressure that gives him the law to hold his wife. There is the Asghar Fahradi in this Permission. As the master of the iranian cinema, the young director, Soheil Beiraghi, plays on the subtlety of the combos, and the absurdity of certain situations.
Sophie Benamon

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FIRST WAS LIKED MODERATELY

TRIP TO YOSHINO ★★☆☆☆
Naomi Kawase

Trip to Yoshino is the first Naomi Kawase out in France without being passed through the box at cannes, where she has her napkin from its Camera d’or in 1997 for Suzaku. A return to normal, therefore, for a filmmaker who, for twenty years, use (and abuse) of the same effects to give birth to films that blissful loving of a quantity pantheistic. Here, it doesn’t work. The return of a French (Juliet Binoche) searching for a medicinal plant rare on-site japanese of his first love and does not find the lyricism that it is usual. Naomi Kawase celebrates the beauty of the nature but not the transcend. She succumbs to her through : the temptation of sursignifier things instead of the sketch. And the slow that it inflicts to his narrative is more of a pose than true poetry.
Thierry Cheze

A BREAD FACTORY, PART 1 : NOUT UNIT ★★☆☆☆
Patrick Wang

Patrick Wang continues to question the american society, but on a lighter mode, less melodrama than previously. In a small city, an art space run by two old ladies is threatened by the arrival of a raucous duo of performers. Will they lose the public funds collected so far ? In mixing biting satire (of the gentrification, the tartufferie of the art world, the corruption of democracy by money) with the chronic sensitive of a place threatened, this curious film chorale of social struggle is struggling to find its tone, its incarnation. And this in spite of the heat empathic gaze of Wang, who is always fond of long pleadings framed to Ozu in interior woodlands. Unless it takes off in the second pane ?
Eric Vernay

TERRA FRANCA ★★☆☆☆
Of Eleanor Teles

For his first feature film, the Portuguese Leonor Teles provides, over four seasons, the portrait of a fisherman that she knows of since his childhood. A portrait protean that holds both of the chronic social (the material the fisherman is seized because he threw his nets without the knowledge in an area classified since little nature reserve) and family (the organization of the wedding of his eldest daughter). There is a lot of delicacy in the manner in which the filmmaker accompanies the daily life of this man and his willingness to sketch by little buttons photography the most accurate of who he is and what it surrounds it. But to force them to flee any form of dramatization, its Terra Franca ends up little by little by eliciting boredom, forgetting to reach out to the spectator for a result whose cérébralité ends almost by resound like a contradiction compared to the promise of departure. And holds in any case too remote, however, only a very beautiful story of transmission.
Thierry Cheze

 

FIRST Did NOT like it

DIAMANTINO ☆☆☆☆☆
Gabriel Abrantes & Daniel Schmidt

It must be acknowledged that Diamantino a certain talent for arousing curiosity, with his hero footballer, stupid, and weak, that visualizes huge puppies with long hair running in a pink foam when he takes control of the ball. The case emberlificote yet at high speed in the wake of this image. Under the guise of satire, the film tackles the crisis of migrants, at the trollisme media, genetic manipulation, trans-sexuality, the rise of the extreme right and the complex of inferiority in Portuguese. A mixture lumpy which does justice to none of the genres that she has visited (science fiction, absurd comedy, romance) and takes everyone to the top, of his characters, the ultra-exaggerated to the viewer himself, asked kindly to confuse poetry and posturing, false nanar aware and true turnip heartbreaking.
Michaël Patin

 

And also
The nutcracker and the four kingdoms of Lasse Hallström
Last days to Shibati Hendrick Dussollier
Portrait of a young woman of Stéphane Arnoux
Robin hood Otto Bathurst

 

Times
La Strada by Federico Fellini
Prince of Darkness John Carpenter

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