A wild teenager frees herself from her father’s yoke, a broke Parisian author rethinks his lifestyle after meeting a woman, an indebted actor infiltrates the mafia… What should we see this week? Discover the cinema selection of Figaro.
Murina – To have
Drama by Antoneta Alamat Kusijanovic, 1h36
She swims. The sea is his refuge, his playground, his secret garden. On this Adriatic island, Julija lives between an irascible, virile and brutal father and a resigned mother. Between the generations the gap is widening. The young girl dreams of going to Harvard, but her father sees another future for her. Then the arrival of a wealthy friend of the couple upsets the situation. With his Italian smile, Javi drags all hearts after him, including that of Julija who considers this man as a means of escaping his destiny. As for his father, he is trying to sell the businessman some land to build a hotel complex there. With her white one-piece and her harpoon gun, Julija understands that summer could be deadly. The Croatian’s first feature film won the Camera d’Or at Cannes. This reward is only fair. Martin Scorsese, to whom we don’t do it, immediately spotted the filmmaker’s potential and produced Murina. IN
The world after us – You can see
Drama by Louda Ben Salah-Cazanas, 1h25
The world after us could have been called The trainees. Or A world without pity. For her first feature film, Louda Ben Salah-Cazanas chose autofiction. Labidi, a young writer in the making embodied by Aurélien Gabrielli, has just obtained a contract with a publishing house to produce a novel set against the backdrop of the Algerian war. Cracking in a maid’s room in Paris, the young author struggles to write since his work as a Deliveroo delivery man monopolizes him. Then one day, he falls in love with Elisa (Louise Chevillotte), with whom he will live on love and stolen pasta from the supermarket in this hostile, gray and rainy Paris, where earning money becomes an obsession. If the director does not lack self-mockery, we are far from the portrait of a cool and nice youth that has never existed and has existed even less since the Covid. A broke film, like its hero, but much richer than many feature films with comfortable finances. ES
A talent in solid gold – You can see
Comedy by Tom Gormican, 1h48
At 58, Nicolas Cage is fearless. The hero of Sailor and Lula , Rock and About-face plunges into this “meta-film” with all the authenticity of which it is capable. A talent in solid gold is cut for him by the director Tom Gormican , with a plot that begins in Hollywood where, in disarray, Nicolas Cage is desperately looking for major roles that he can no longer land. But while he is thinking of ending his career, his agent (Neil Patrick Harris) offers him an appearance at the birthday party of a Spanish billionaire (Pedro Pascal), with dubious activities. Then the CIA intercepts him and makes him play spies, enough to give him the opportunity to shine again in real life… Despite a fairly flat performance, Tom Gormican plays jacks with the actor’s career. To celebrate Nicolas Cage is to celebrate the bad decisions of an imperfect career, with these nanars, these cracks and its flashes. Too bad the self-mockery stops where the film could have taken a little thickness. OD
Ogre – You can see
Fantasy drama by Arnaud Malherbe, 1 h 43
Fleeing from a painful past, Chloé (Ana Girardot) settles down with her 8-year-old son in a village in the Morvan. The locals happily welcome the new teacher, as a mysterious beast devours cattle at night and a child goes missing. A first film with a very classic atmosphere, ultimately disappointing, but from which Ana Girardot comes out stronger. O.D.
The Secret of the Lost City – To avoid
Adventure of Aaron and Adam Nee, 1:52
A best-selling novelist (Sandra Bullock) is kidnapped by a billionaire (Daniel Radcliffe) seeking the lost treasure of an ancient city. The model embodying his hero on the covers (Channing Tatum) goes in search of him. We expected an uninhibited remake ofIn pursuit of the green diamond. We are entitled to a sluggish and not funny comedy, where only the rare appearances of Brad Pitt remain. OD
The toothless – To avoid
Comedy by Pascal Rabaté, 1 h 25
The author of small streams had accustomed us to better. Claiming to be the Italian comedy of the 1970s The New Monsters by Ettore Scola, he orchestrates a silent film eyeing Jacques Tati which features a clan of ugly dirty and nasty people living in a dump. The police are messing with them. The viewer spends the whole film with his eyes in the mud, without a single poetic line to get his teeth into… O.D.