Mine, No Bear, Saint Omer… Films to see or avoid this week

Roschdy Zem delves into the trauma of a family after the loss of a brother, Iranian filmmaker Jafar Panahi stages exile, documentary filmmaker Alice Diop captures the true story of an infanticidal mother… What to see this week? The selection of Figaro.

Mine – Have

Drama by Roschdy Zem, 1h25

In front of and behind the camera, Roschdy Zem talks about the trauma suffered by his loved ones after his brother’s accident. Moussa is no longer the same. He who was gentleness, understanding incarnate, now after a fall he swings his four truths to everyone. The pill is quite hard to swallow. At first, we make excuses for him. He is in the process of divorcing. It’s going badly. The wife gives no more news. The abandoned husband goes out to a club, gets drunk on the dance floor. Ethylic coma. He won’t recover. His bump on his forehead is just a symptom. The nice senior manager becomes cantankerous, touchy, unmanageable. It had started with a birthday lunch. Between two bites of cake, the brothers and sisters bickered. The conspiratorial son was talking nonsense. We used to. Today he claims that Americans have never been to the moon. We knew that Ryad, sports journalist on television, was the most selfish of the tribe, that he thought only of his job. He will be there for his younger brother, take matters into his own hands. With Les Miens, Roschdy Zem, perhaps the best French cinema brings us at the moment, depicts the most everyday of tragedies. His film exalts hearts. It rings true. It beats true. One needs to see it. It will amaze you. IN.

No bears – Have

Drama by Jafar Panahi, 1h47

While Iranian director Jafar Panahi has been behind bars since July 10, his latest film, No Bears, comes out in the room. In this story shot before the revolt in his country, he stages exile. A step he does not want to take, unlike his son, Panah, who has just moved to France. In No Bear, the filmmaker stages himself making a film from a distance, his eye riveted to a computer to direct the actors, from a village near the border. a couple of comedians try to obtain passports to flee Iran. In the village where Panahi takes refuge, a couple of lovers is confronted with a deadly patriarchy, between tradition and superstition. No bear is particularly pessimistic. But it was filmed before the uprising and Panah Panahi wants to believe that there is hope today. E.S.

bad girls – Have

Documentary by Émérance Dubas, 1h11

“We fled the institute and I found myself in prison for a week, before being sent back…”. Fabienne recounts, like three other women in this film, her childhood spent in the institutes of the Good Shepherd, where the “bad girls” – those we took for such – were educated by nuns with cold hearts like the bars of the beds of the dormitory. Many, at least, were like that. It would have been interesting to ask about it. This congregation born in the first half of the 19e century worked until the 1970s to “save from sin” girl-mothers, abused, runaway, abandoned girls. Evelyne re-read the bombastic letter from her parents to the director qualifying her “untenable”.“Everything is false…”, she says six decades away. The camera slowly climbs the stairs of one of these reformatories now in ruins, visits the chapel and then the bathroom, where scabies was removed from the little girls with the blows of a “chackgrass brush”. On a daily basis, bullying was common. The residents, this neat documentary by Émérance Dubas proves it, did not all come out unscathed. BP

She Said – You can see

Drama by Maria Schrader, 2h09

Zoe Kazan and Carey Mulligan camp, with effective sobriety, the reporters of the New York Timeswho broke the omerta on harassment and sexual abuse in Hollywood. On October 5, 2017, top reporters Megan Twohey and Jodi Kantor detailed how, for decades, Harvey Weinstein, Hollywood’s rock and roll producer, bought the silence of the women he assaulted. The austere paper, resembling a legal publication, was based on long months of invisible investigation. By signing an ode to journalism and to the courage of the victims, Maria Schrader ( I am Your Man ) avoids the pitfall of scabrousness and moralization. Harvey Weinstein only briefly appears from behind. The camera films corridors and hotel rooms as the testimonies echo. She Said offers a vision of journalism on the big screen less embellished than usual. The door-to-door physical and telephone constrainer, from Los Angeles in the United Kingdom, arouses pleas of inadmissibility, fueled by the fear that Weinstein and his confidentiality agreements arouse. The duo of reporters accumulates sleepless nights and cropped weekends. The film releases as much muted anger as light in a memorable double uppercut. CJ

Operation Santa Claus – Have

Animated film by Marc Robinet, 43 minutes

The son of very busy and wealthy parents, eight-year-old William asks for a gift that would seem impossible to obtain: Santa Claus himself. Accompanied by Alice, his little neighbor who has more modest ambitions and a “real” elf, the boy embarks on an adventure that will make him grow. Alain Gagnol’s story goes beyond a childhood dream by making young audiences think. Marc Robinet stages it with delicacy and tenderness. The flat designs and soothing colors are worthy of a fairy tale. Perfect before the holiday season. NS

The menu – You can see

Thriller by Mark Mylod, 1h48

After the road movies, the food movies. Director Mark Mylod sets the plot of this feature film in an ultra-select restaurant hidden on an island off the east coast of the United States. Hawthorn receives about ten guests at each service. The $1,250 per person meal (drink included) will quickly turn sour, but putting a lot of blood in a sauce isn’t enough to bind it properly. Even if some scenes remain delectable, such as that of the lamb chop with leeks, the settling of social scores ultimately leaves the viewer unsatisfied, despite the impeccable number of head Raph Fiennes completely crazy. Stereotypical characters, far-fetched plot, it’s less subversive than Feast(1973); the pastiche epilogue, gory style, that of Ratatouille , we expected better. The most amusing thing is the way the film ridicules the fashions and puffiness of contemporary haute cuisine. SDS

Bones and all – You can see

Drama by Luca Guadagnino, 2h11

Young Maren (Taylor Russell) searches for her mother to try to understand the origins of her taste for fresh flesh. She crosses paths with Mark Rylance and especially Timothée Chalamet (the star of Dunesrevealed by Guadagnino in Call Me By Your Name ), cannibals like her and condemned to a marginal existence. The two cannibalistic hobos criss-cross the United States, sometimes stopping for a gastronomic stopover. Guadagnino alternates romance (guitar ritornello) and gore (scary music). How to find its place in the world with such a diet? Serious question already dealt withSevere precisely, the first film by Julia Ducournau, with more nerve. E. S.

Rimini – You can see

Comedy by Ulrich Seidel, 1h55

Michael Thomas does not have the physique of Alain Delon. He does not play a teacher. But as in Valerio Zurlini’s film, he walks through winter in Rimini, an Italian city on the Adriatic coast, battered by wind and rain. Old Austrian crooner, Richie Bravo pushes the song for retirees in stark hotels, when he does not rent his services as a gigolo. Tessa, his daughter, arrives in this dull routine to ask him for money. Assumed bad taste, Houellebecquian humor, sad flesh, theDolceVita Ulrich Seidel version. E. S.

Saint Omer– To avoid

Drama by Alice Diop, 2h02

For her first fiction feature film, documentary filmmaker Alice Diop captures the story of Fabienne Kabou, of Senegalese origin like her, infanticidal mother of her daughter Adélaïde, 15 months, abandoned at the rising tide on the beach of Berck-sur-mer on November 19, 2013, and sentenced to 20 years’ imprisonment by the Assize Court of Saint-Omer. Alice Diop does not stage the news item as such. It reproduces the trial based on the verbatim of the hearings. She puts in place a device that is no doubt very rigorous (fixed shots and actors most often facing the camera), but of a rather repulsive rigidity and sluggishness. The accused, renamed Laurence Coly (Guslagie Malanda), is elusive. It is cold, not to say chilling. Alice Diop forgets to flesh out this story. President Valérie Dréville and Advocate General Robert Cantarella, a seasoned theater actor, are stiff as justice. We will say that they are in their role. It’s more disturbing in the case of Rama (Kayije Kagame), alter ego of the director, college teacher quoting Hiroshima my love and novelist attending the trial, pregnant and upset by the mirror Laurence Coly holds out to her. E.S.

SEE ALSO – Colors of fire: “When I make a film I think I’m inventing cinema”, laughs Clovis Cornillac


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