Nomadland, 200 Meters, Le Discours… Films to see or avoid this week at the cinema


The film by Chloé Zhao, winner of the 2021 Oscars, some genre nuggets and a very good French comedy. What to see this week? The editorial selection of the Figaro.

To have

Nomadland , a drama by Chloé Zhao, 1h48

Double penalty. Her husband is dead. The mine has closed. After the crisis of 2008, Fern finds himself on the floor. This penniless widow leaves her devastated town in Nevada, decides to cut the road aboard a van. She sleeps in it. In the evening, in her sleeping bag, she looks at old family photos that she keeps in a box and contemplates the wedding ring she kept on her finger. A kind of smile then illuminates his face. That of Frances McDormand is a landscape which recapitulates all human emotions, courage, fatalism, nostalgia. Nomadland rests entirely on his shoulders. Apart from her, it is difficult to see who could have embodied this loner who jumps on odd jobs, crosses deserted areas, fraternizes with other nomads who are perhaps the new pioneers, the guardians of an ancestral tradition. She succeeds in blending in with non-professional actors who play their own role, with their gullied faces, their bushy beards, their eyes drowned in hope. Halfway between documentary and fiction, Chloé Zhao’s film attaches itself to the wheels of this tribe of the left behind for whom only freedom matters. This realistic feature film touches on poetry, targets the heart, like certain novels by Raymond Carver, with bursts of lyricism à la Terrence Malick. Question of look. There are days, yes, when huge semi-trailers parked in a parking lot start to look like resting dinosaurs. We will not forget this Fern. She is the cousin of Barbara Loden’s Wanda. IN

200 Meters , a drama by Ameen Nayfeh, 1h37

Two weeks after the serious crisis that rocked the region, this feature film by Palestinian Ameen Nayfeh takes on a special resonance. What does he tell us about the situation? Precisely, he said nothing. No political speech here. Pictures and plot are enough. Thirty-something Ameen Nayfeh forcefully films a West Bank man living at the foot of the separation wall erected by the Jewish state after the second Intifada. He is due to visit his hospitalized son on the Israeli side. The beginning of a Stations of the Cross. In the clandestine car he takes, the fear of a control keeps him in the back of the seat, and we in our own. Throughout this journey between the olive groves and the checkpoints, the director draws as a bonus a particularly accurate portrait of the West Bank. BP

The speech , a comedy by Laurent Tirard, 1h28

With his second novel, The speech (Gallimard, 2017), comic book designer Fabcaro hit the jackpot. Long seduced by his absurd and offbeat humor, Laurent Tirard ended up adapting it by transforming it into an irresistible romantic comedy. Adrien (Benjamin Lavernhe, admirable) attends a family dinner shortly after a breakup with Sonia (Sara Giraudeau). His future brother-in-law charges him with a speech for his sister’s wedding, while he is desperately waiting for a text from Sonia. Rhythmic, full of humor and visual discoveries, this sparkling adaptation, coated with tenderness and the unexpected, sifts through the little flaws of the couple and of everyday life. In 1h28, everything is there. You don’t need a long speech to praise its merits! OD

Tom foot , a comedy by Bo Widerberg, 1h24

Releasing a film on football on the eve of a European football championship, the bet is risky. A priori, it is difficult to see allergy sufferers rushing into the rooms to see guys in crampons. Except that Tom foot (1974) is not a football film like any other. It is even perhaps the best feature film about the most popular sport in the world. It is signed Bo Widerberg, representative of the Swedish New Wave and football fan. He imagines a 6 year old kid becoming the star of the national team. He doesn’t know how to tie his laces but dribbles as he breathes. Widerberg plunges his hero as high as three apples during real matches, in particular a Sweden-Hungary of the 1974 World Cup qualifiers. The effect is as realistic as it is surreal, since the small player connects small bridges on tall mustached guys. The gifted becomes a marketing product and an icon while he dreams only of learning to read and write, between two hugs to his blanket. Before Headbutt by Jean-Jacques Annaud, and with more mischief, Widerberg’s fable already points to the excesses of football business. ES

The mother (Okaasan ), a drama by Mikio Naruse, 1h38

A little jewel in black and white from 1952 – unpublished since 54 – which is reminiscent of the poetic realism of Marcel Carné. A young woman tells the story of her family through her seemingly indestructible pillar: Masako Fukuhara (wonderful Kinuyo Tanaka), a gentle and loving mother who lives on the outskirts of Tokyo. Domestic at 14, she tries to bring up her children with dignity. “ Papa Popeye », Her husband (Masao Mishima very touching) hopes to reopen his laundry which was destroyed by fire, but tragic events thwart his project. Masako does with the little, almost nothing, that life leaves him. Illness, the disappearance of loved ones and, moreover, the weight of traditions push this courageous mother to its limits, yet she stands up. Lack of money prohibits long-lasting happiness. Naruse seems to say: “ take advantage of every second ” and at the same time : “ things are written, that’s how it is, we can’t change them “. It looks like Zola, but there is also humor in this feature film representative of Japanese neorealism that moves like never before. Must see or review. NS

You can see

Conjuring 3: under the influence of the devil , a horror film by Michael Chaves, 1h52

All the horror boxes are checked: possessed child, spurting blood, haunted house as if it were above a subway line, sounds to wake up the dead, old maid-style English governess organizer of satanist rituals! ‘afternoon. She also has the annoying habit of appearing behind her victim’s back when she least expects it. We do not have time to analyze the often coarse strings of the scenario that an umpteenth cry is heard. With this escalation, it would have been difficult for the new installment of the American franchise inspired by ghost hunters Ed and Lorraine Warren to miss its target. If you are a masochist, Conjuring 3 is made for you. BP

Rascal , a thriller by Peter Dourountzis, 1h35

Djé, the hero of Rascal, is inspired by Parisian serial killers of the 1990s. Mamadou Traoré, “the bare-handed killer», A homeless abuser of women. Patrick Trémeau, married, two children, nicknamed “the rapist of the parking lots“. And especially the most infamous of them, Guy Georges, child of the DDASS who became “the killer of eastern Paris», Murderer and rapist of women. His hunt was told by Frédéric Tellier in The SK1 case, from the point of view of the judicial police. Peter Dourountzis, he sticks to the basques of Djé, a vagabond in a parka landed in an unnamed town. He has the features of Pierre Deladonchamps, terrifying with his angelic face, his soft voice and his piercing blue eyes. And this from the first scene in the train, where the predator is flush with the dredger. Her charm opens the doors to a squat and the arms of a sociology student who quotes Pierre Bourdieu (Ophélie Bau, the revelation of Mektoub my love ). The handsome lover and good friend, neither unsuspected husband nor psychopath, kills by impulse women he crosses by chance. Violence remains out of focus, but fear creeps in at all times. Rascal, the very mastered first feature film, shows that evil remains unfathomable and its fascination intact. ES

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