French drama by Emmanuel Carrère, with Juliette Binoche, Hélène Lambert, Léa Carne (1h47).
A great reporter, Florence Aubenas pursues the romantic in reality with clairvoyance. A follower of autofiction, Emmanuel Carrère writes literature with reality, which he twists in the light of his own biography. There is evidence that one adapts the other, with “Ouistreham” – preferred title to “Quai de Ouistreham” (Ed. De l’Olivier), which augurs well for some freedoms -, where the The author of “The Adversary” draws Aubenas’ story to himself by dealing with his dear subjects: the imposture and the lie.
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“Not seeing these people is not respecting them”: Juliette Binoche and Emmanuel Carrère talk to us about “Ouistreham”
In “Ouistreham”, Florence Aubenas, who spent several months incognito on the Normandy coast in the jungle of Pôle Emploi and the flash training necessary to escape radiation, then among a squad of housekeepers “In commando” in campsites or on ferries, accumulating, at hellish rates, the hours to survive, becomes the novelist Marianne Winckler. This one intends to return “The invisible visible”, in other words to restore face, existence and dignity to the statistics of the brutalized of the time: thirty bungalows to be cleaned, three rotations of change of sheets and rippling of the toilets to ensure (stopover of one hour and a half) on the boats, eyes edged with fatigue and a broken back, all for peanuts. A character quickly stands out: Christelle (Hélène Lambert), terribly endearing mule head, exhausted comrade, with whom the Parisian bourgeoisie, who sneaks her notes in a notebook, forms a friendship. But what is this affection worth against a social divide that nothing can bridge? If it starts from a just intention, the questionable immersion of Marianne Winckler calls for a chilling outcome. He will be.
From “the Fracture” to “Ouistreham”, real people triumph in the cinema
Certain scenes are successful (a trip to the bowling, the acronyms of Pôle Emploi like “SBAM”, for “Smile, hello, goodbye, thank you”, these trips to the beach that Christelle never allows herself to think of or their exchanges), others less (the episode of the necklace, too manufactured, or the resolution a bit voluntarist of the story). At the origin of the project? Juliette Binoche isolated in front of non-professionals, real precarious workers, Evelyne Porée, Léa Carne… many women and only one man, whose naturalistic, prodigious game rubs off on her own. We will carry this choice to the credit of the film, which manages to paint a portrait of the damned of liberalism doomed to marner without ever protesting: “Don’t try to educate those who have more than you. ” Sophie Grassin
French dramatic comedy by Nessim Chikhaoui, with Shaïn Boumedine, Aloïse Sauvage, Julie Depardieu, Philippe Rebbot (1h51).
After a failed act, Elias (Shaïn Boumedine), raised in a city, is ejected from the entrance examination to Science-Po. Thanks to his band of clampins, he falls back on a job as an educator in a “children’s home with a social character”, where, confronted with teenagers in crisis, he learns, day after day, to untie the bags of knots. Despite a predictable script, Nessim Chikhaoui, co-scriptwriter of “Tuche”, puts nuance, warmth and heart to the work. He balances his comedy with serious notations, cares about the interpretation (everyone exists) and, not without a certain modesty, wraps this up quite well. feel-good movie on the strength of the collective in the face of the harshness of life. S. G.
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♥♥ Farewell Mr. Haffmann
French drama by Fred Cavayé, with Daniel Auteuil, Gilles Lellouche, Sara Giraudeau (1h55).
Beautiful story, adapted from a play by Jean-Philippe Daguerre, between a Jewish jeweler forced into hiding in 1942, and his worker who, little by little, slips towards collaboration. The dramatic articulations of the scenario are sometimes not very subtle, even heavy, but the actors carry this drama behind closed doors. Daniel Auteuil, Gilles Lellouche and Sara Giraudeau arouse an emotion which, without them, would be less obvious. Francois Forestier
♥♥♥ The German Lesson
German drama by Christian Schwochow, with Ulrich Noethen, Tobias Moretti, Levi Eisenblätter (2h05).
Who is Siggi, this young German incarcerated who does not comply with prison rules? Flashback: in a small resort on the shores of the North Sea, he spent part of his childhood under the control of a father, a police commissioner, a stern man and a service-worker. In 1943, this mentality is ideal, in the Nazi system, and Siggi sees the destruction of the work of a painter friend, and the criminal devastation of the Reich. At the same time, he learns the meaning of the word “freedom”… Taken from a novel by Siegfried Lenz (member of the Nazi Party in 1943) published in 1968, the film is impressive by its mastery of direction. Christian Schwochow transforms this cold drama into a brilliant analysis of manipulation and authority. And the image, signed by cinematographer Frank Lamm, is of rare beauty. F. F.
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♥♥ Cher Evan Hansen
American drama by Stephen Chbosky, with Ben Platt, Julianne Moore, Kaitlyn Dever (2:17).
Following an unfortunate misunderstanding, Evan is taken for the best friend of a high school student who has just killed himself. Incapable of confessing the truth, he is trapped in the chain of lies and the dubious instrumentalisation of the drama. This adaptation of a Broadway hit highlights the unnecessary complexity of the storyline. It is all the more regrettable that this disenchanted musical tragedy, carried by airs of beautiful lyrical flight, clearly shows the distress of American youth. Weight of appearances, suicide, sociability, drug dependence, harassment: the story of this lonely teenager leans in where it hurts. Stifling under the weight of the dramaturgy, the story loses its subtlety and gives birth to a highlighted melody. Xavier Leherpeur
♥♥ The Lost Daughter
Greek-American drama by Maggie Gyllenhaal, starring Olivia Colman, Dakota Johnson, Jessie Buckley, Peter Sarsgaard (2:02). Watch on Netflix.
Literature teacher on vacation on a Greek island, Leda (Olivia Colman), in her fifties, is embarrassed on the beach by a screaming family. She focuses her attention on a young mother and her daughter, and then ends up committing a bizarre act. No need to deflower this adaptation of “Poupée volée”, by Elena Ferrante, a psychological thriller based on a growing tension where the work on sound and the photo of Hélène Louvart play a preponderant role. For her first production, actress Maggie Gyllenhaal, winner of the best screenplay at the Venice Film Festival, chooses to tell about asphyxiation, repression, the mental load linked to motherhood. She does not do badly at all, notwithstanding a few lengths and other insistent sequences, venial debutante sins. S. G.
♥♥ Jane par Charlotte
French documentary by Charlotte Gainsbourg, with Jane Birkin, Charlotte Gainsbourg (1h30).
We know them, these two. They are known so well that Charlotte doesn’t need to fill in the gaps with an invasive commentary. From a concert to a Breton house, Gainsbourg films his sick mother – a good excuse to watch her – by overcoming her modesty, by filming expensive objects, by photographing her a lot as if to keep track of them, by clearing up these misunderstandings that do not exist. have never really hurt. Cousin of “Boxes”, the film by Jane Birkin (2007), its miniature summons the ghosts of Serge and Kate Barry, autopsy the maternal guilt, gets lost in an episode on dogs to end up in a very beautiful final letter listened to by Jane on the beach. Frank, intense, sometimes less, but by no means a “little nothing”. S. G.
♥♥♥ Paragraph 175
English documentary by Rob Epstein and Jeffrey Friedman, commentary by Rupert Everett (2000, 1h17).
They are the forgotten ones of the Nazi camps, the carriers of the pink triangle: the homosexuals, condemned, deported and exterminated in the name of the paragraph 175, German law of 1871 which lasted until 1994. Six survivors (five men, one woman) of the Third Reich, survivors, bear witness to the abominable hell they went through. Twenty-two years after the release of this documentary, they are all dead. Their voices remain, with increased force. F. F.
♥♥ Little Palestine. Journal of a siege
Lebanese documentary by Abdallah al-Khatib (1h29).
A dive in the Yarmouk camp, in Syria, where several thousand Palestinian refugees lived until 2018. Abdallah al-Khatib, who was born there, filmed the daily life of an uprooted population, deprived of hope, subjected to the threat of Bashar al-Assad and, in fine, to the violence of Daesh. Images shot in the face, scenes recorded with the means at hand: a disjointed but irreplaceable film, which touches the precariousness of a painful existence and the quest for dignity. F. F.
♥♥♥ “From stage to film. Theater, music and cinema around 1900 ”
By Rémy Campos, Alain Cariou and Aurélie Poidevin. Ed. L’Œil d’or, 296 p., 39 euros (with 2 DVD).
The theater world showed utter contempt for silent cinema. Very quickly, however, the filmmakers called on the resources of the scene: the Film d’Art, in particular, laid the foundations, with mimes, acrobats, dancers, classical actors, consecrated works, pieces of music. Stars, like Mounet-Sully, Charles Le Bargy, Régina Badet, Firmin Gémier, make the jump, and films like “The Assassination of the Duke of Guise” (1908) or “Carmen” (1910) are successes. A whole era, magnificently documented. F. F.
♥♥♥ “They all come to the movies! The rise of a popular spectacle (1908-1919) ”
Under the direction of Laurent Véray. Le Passage, 272 p., 29 euros.
From the invention of cinematographic technique to the creative experiments of Abel Gance or Marcel L’Herbier, a series of articles covering ten essential years in the history of the seventh art. Movie theaters, posters, new stars (René Navarre, Musidora, Prince Rigadin, Charlot), fairground shows, religious propaganda, scientific explorations, all areas are flown over, when the war precipitates the need to escape. A new continent is born before our eyes, and the Belle Epoque is fading away. Richly illustrated, a very complete album, and a lot of fun. F. F.
♥♥ Without you
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French dramatic comedy by Sophie Guillemin, with Thierry Godard, Sophie Guillemin, Bruno Solo (1h16).
A phone call from Moscow. At the other end of Europe, just a breath. Enough to launch Antoine, wine negotiator, on the road of a lost love, of a woman he has betrayed. For her first film, the actress Sophie Guillemin films a man lost in immense settings and captures by his staging the immense fragility of Thierry Godard, false force of nature, colossus of clay that she watches crumble . A Russian melancholy fiction, which she produces with a common love for wild landscapes and for the actor. Admittedly, the scenario is fragile, but the magnitude of its framework, the roughness of its assembly and its magnificent direction of actor touch on the fair. X. L.