La Petite Bande, As bestas, The Gray Man… Films to see or avoid this week

Paul Belhoste in The Little BandDenis Menochet in As bestas and Ryan Gosling in The Gray Man. Roger ARPAJOU – 2022 LFP – LES FILMS PELLÉAS / GAUMONT / FRANCE 2 CINEMA / TOVO FILMS/Lucia Faraig/Netflix France

An ecological fable for children, an implacable rural thriller or the latest thriller from the Russo brothers… What should we see this week? Discover the cinema selection of Figaro.

The Little Band– Have

Comedy by Pierre Salvadori, 1h48

Since The four hundred Blows of Truffaut, the films on childhood make recipe. Within this film genre, as subtle as it is delicate, there is a sub-genre to be reckoned with, the strip film. For his tenth film, Pierre Salvadori (The trainees, Freely !…. ) wanted to treat himself to his own “strip film”. And he was right. It all starts with a big dip in a polluted river, that of little Aimé (formidable Paul Belhoste, 10 and a half years old at the time of filming). The college whipping boy, harassed at school and extorted by his peers, has just joined a group of friends, he who is so alone in ordinary times. It is through his voice that we follow the whole adventure. Salvadori meanwhile does not lose sight of the essential. In his native Corsica, the landscapes parade, sunny, mysterious, of an insolent beauty, captured at a hundred miles an hour while the children run in the woods, their knees scraped, their arms full of bruises, their legs stuffed with scratches. , and shortness of breath. Laughter bursts out. A few adrenaline rushes give the thrill. We come out of this joyful show with a smile on our faces, a jubilant heart, thinking that there is nothing better than a group of friends for life… OD

As bestas – Have

Drama by Rodrigo Sorogoyen, 2h17

As bestas tells the story of Antoine and Olga, new French peasants who came to settle on one of the border slopes of the Pyrenees. Two opposing worldviews. On the one hand, an educated couple who chose to leave the city to settle in the countryside, felt as a softer and more authentic fantasized place. On the other, the villagers who live meagerly from their market gardening and only dream of hitting the jackpot to escape this land of misery. A formidable director of tension, Rodrigo Sorogoyen (el reino ) spares its effects. Intimidations follow one another, mixed with small humiliations and attempts at sabotage. With his nervous staging, his bitter and disturbing story, Rodrigo Sorogoyen signs a striking black fable on xenophobia and the class struggle. After Que Dios nos perdone Where Madre he asserts himself as one of the most interesting filmmakers of his generation. OD

mazes– You can see

Crime film by Bogdan George Apetri, 1h58

Cristina is a young novice retired to a monastery. We discover it during an opening scene that looks like a conspiracy. A nun lends him a cell phone. A taxi is waiting for him. He must take her secretly to the city hospital. Apetri unveils it sparingly, without explanatory dialogues. We are grateful to him for not chewing up the work on the viewer. Cristina’s journey back to the monastery is done in almost perfect symmetry. Except that the taxi driver, different from the one on the way out, under his airs of a brave guy in love with variety, turns out to be a rapist of incredible savagery. mazes then picks up where it started, at the monastery. A police inspector investigates the attack on Cristina, who is in a coma. mazes is a somewhat emphatic title. Apetri’s polar is more linear than it seems. As addictive and controlled as it is, it may not be as labyrinthine or complex as it would like – the international title, Miracle, is not much better. On a similar subject, The Night of 12 seems more modest and less spectacular. Dominik Moll’s film, released last Wednesday, is however much more dizzying and moving. ES

The Gray Man– You can see

Thriller by Joe and Anthony Russo, 2:08, Fridays on Netflix

At the helm of several Captain America then some avengers the filmmakers take a break from superheroes and imagine with The Gray Man a globe-trotting thriller. The Gray Man is the nickname given to Gentry, a CIA-trained mercenary who is as lethal as he is elusive. Without attachment, without family, without affect or almost. His weak point is the niece of his former boss, whom he once ensured protection. This reckless teenager with fragile health is captured by Gentry’s enemies to get him out of the woods. Sobriety is not the fort of the Russos who deliver a deafening and cacophonous chase. Wishing to offer a modern and antiheroic alternative to James Bond, Jason Bourne or Jack Ryan, the filmmakers fly over a Sisyphean assassin figure. Acceptable to clear your mind, but too bland to renew the genre. In the guise of Gentry, Ryan Gosling rediscovers the mute and dark register that had transformed him into sex symbol in Drive but without the melancholy that went with it. Chris Evans tackles a mustache, a sure sign he’s a dangerous sociopath but revels in the archetype. Regé Jean-Page (Bridgerton), shadow technocrat, is also monolithic. Only Ana de Armas, already stunning in Dying can wait pulls out of the game as a high-flying teammate and spy, determined not to be the scapegoat for power plays by her colleagues. CJ

SEE ALSO – Patrick Dewaere: The tragic novel of an icon of French cinema


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