Film festival: the films you have to see while there is still time


An urban thriller by Park Chan-wook, an absurd comedy by Dupieux or the flamboyant destiny of Buzz Lightning. What to see by Wednesday evening at the cinema.

A single price of €4 to discover the films of the moment in French cinemas. Like every year since 1985, cinemas are celebrating in June. For this 37th edition, professionals in the sector hope to find an audience that has been shunning theaters since the Covid-19 crisis. As a reminder, Europe recorded a dark year in 2021 with a 60% drop in attendance over the year. 2022 does not seem to have started any better, cinemas suffered a 41.6% drop in attendance in January 2022 and the same in February compared to the same months of 2019. On the program for this edition, American blockbusters, animated films and French comedy. Our selection.

Elvis

Baz Luhrmann biopic, 2h39

With Austin Butler, the King has unearthed the ideal performer for this biopic where the music finds its place. It is as if the immortal interprets Heartbreak Hotel had never left the building. It’s simple, Austin Butler is Elvis. From the first images, we are convinced to see the King incarnate before our eyes. Better than the thousands of look-alikes and other clones that have appeared since his death nearly forty-five years ago, Butler masterfully interprets the role, or rather the roles, Elvis was so multiple, from his appearance at the age of 19. until his death at age 42. WE

Buzz Lightning

Animation by Angus MacLane, 1h49

In Buzz Lightningthe young space ranger, sidekick to cowboy Woody in Toy Story crashes his big turnip-shaped exploration ship on a hostile planet. With the help of his partner, Izzy Hawthorne, he intends to get the human colony stuck on this inhospitable star out of trouble. In this arduous task, he will be helped by a band of very sympathetic broken arms, not to mention a robot cat called Sox, as cute as he is resourceful. Director Angus MacLane and Pixar seize this cosmonaut in the green and white suit and invent a flamboyant destiny for him. An animated film worthy of a 1960s space opera. OD

Decision to Leave

Drama/Thriller by Park Chan-wook, 2h18.

His nights are longer than his days. The doctor calculated: this Busan policeman wakes up forty-seven times an hour. Might as well stay up. Hae-joon takes the opportunity to multiply the hideouts in the dark. He has his work cut out for him. His latest case is, shall we say, bizarre. The corpse of a mountaineer is found at the foot of a rocky peak. A priori, it is a banal accident. Not so sure. Why not a suicide? The hypothesis is to be considered. Things get complicated with the wife of the deceased. No apparent emotion. The day after the accident, she resumed her work, which consists of massaging lonely old ladies. A detail disturbs the inspector: she has a scratch on her hand. There is not just that. Over the interrogations, the cop falls in love with the suspect. That’s not going to make the investigation any easier.

Park Chan-wook, the director of this urban thriller offers sudden escapes to the sea or the mountains. The feelings are of a constant photogeny. The plot meanders, with its pitfalls, its dead ends. It’s a maze of assumptions, an ocean of beauty cradled by 5e Symphony of Mahler, in which one loses oneself with enchantment. As with Proust, the character dries up for someone who is not his type. So he continues to watch her at the bottom of his building, desperately looking for her on a beach at low tide. There are days when we say to ourselves that, yes, cinema is definitely an art. Hover. IN

Incredible but true

Comedy by Quentin Dupieux, 1h14.

Alain (Alain Chabat) and Marie (Léa Drucker) are very happy. At 50 and something, they are finally owners. The peculiarity of their pavilion burns their lips. In the basement there is a hatch. It hides a tunnel. If you take it, you suddenly find yourself outside twelve hours early and three days younger. Quiet. It will take a dinner with a couple of friends who also have something au gratin to announce to them for them to break the silence. With Incredible but true, Quentin Dupieux is not afraid of the absurd. It is an area he masters. He knows how far to go too far. At home, the strange – a giant fly in the trunk of a Mercedes, a forties literally crazy about his fringed jacket – belongs to everyday life. The director has the art of stretching the scenes, maintaining the suspense thanks to hilarious dialogues and actors who obviously can’t believe they are having so much fun. We see in this the vast misery of the time, the frustration that reigns in the most united couples, the ambiguous relationships at work. Obviously, the machine breaks down. Otherwise, it wouldn’t be funny. IN

Top Gun: Maverick

Action movie by Joseph Kosinski, 2h17

Thirty-six years later, “Maverick” is back in service. And it sucks. This time, Tom Cruise and his elite pilots have a mission to accomplish, if not impossible, at least perilous: to destroy a clandestine uranium enrichment plant in an enemy country. The training sequences and the mission itself are dizzying. Cruise, now an instructor, must train “Rooster” (Miles Teller) who is none other than the son of “Goose”, his teammate who died accidentally in the first Top Gun. Trauma and remorse don’t stop Cruise’s iconic shots on a motorbike, hair blowing, racing an airplane. He continues to defy the clocks. A game of American football on the beach allows him to show off his pecs. “It’s not the plane that counts, it’s the pilot”, is his other mantra. Aboard an F-14, another relic of the 1980s, Cruise fears no one. Top Gun: Maverick conjures up the fear of aging, an anxiety of the Hollywood star shared by a good part of humanity. E. S.

El Buen Patron

Comedy by Fernando León d’Aranoa, 2h00

They were only missing that. The licensed accountant camps in front of the factory, sleeps in his car, brandishes banners, summons his children, yells into a megaphone. Now is really not the time. Blanco scales are on the verge of winning the Excellence Award for the best company in the region. A commission is likely to tumble unexpectedly. The boss does not take off. Is it his fault if there was a social plan? He announced it with a heavy heart. The market is not joking. From the top of his balcony, this brave fifty-year-old delivers a speech to his troops that is as satisfied as it is purring. Javier Bardem shines as the paternalistic and clumsy CEO of a company where everything goes down the drain. A particularly tasty social comedy. E. NOT.

Between life and death

Drama/Thriller by Giordano Gederlini, 1h35.

It’s the kind of thriller, tense and sticky, from which you don’t come out unscathed. Between life and death features a silent, exhausted, disillusioned protagonist, direct heir to the heroes we saw in the American thrillers of the 1970s. The story takes the viewer to Brussels. A confined megalopolis filmed as the New York of French Connection by William Friedkin. Leo Castaneda (Antonio de la Torre, as magnetic and tortured as Roy Scheider) is a Spaniard with a troubled past, who became a simple driver on line 6 of the Brussels metro. One evening, he meets the feverish and familiar gaze of a young man left alone at the edge of the quay. The boy voluntarily disappears under the tracks… OD

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