The Promises, Farewell Paris, Almost… Films to see or avoid this week

A mayor torn between her ambition and the desire to move on, a tasty lunch with old friends at La Closerie des Lilas, the first steps in the cinema of the philosopher Alexandre Jollien. What to see this week? Discover the cinema selection of Figaro.

The promises To have

Drama by Thomas Kruithof, 1H38

Twelve years is enough. The end of his second term is approaching. Clémence will not represent herself. She is mayor of a town in 93. It was a full-time job. The elected official considers that she has fulfilled her task. Clémence would like to leave with a bang, show her pride, go out with her head held high. But “M. Grand Paris” dithers. The elections are getting closer. The aedile begins to doubt. She wanted to prove her disinterestedness, show her righteousness. A problem arises: he is given the prospect of a ministerial post, for the future. In her pavilion, the heroine weighs the pros and cons. Her son will soon be leaving home – of the husband, there is never any question. In this very instructive feature film on local politics, Isabelle Huppert perfectly embodies the role of a mayor torn between her ambition and the desire to move on. E. NOT.

Farewell ParisTo have

Comedy by Édouard Baer, ​​1H36

In the evening of their lives, old friends meet for a ritual lunch at La Closerie des Lilas. They are the only guests. The revolving door of the famous Montparnasse institution opens onto these triumphant-looking, white-haired males. Jacques, Bertrand, Enzo, Louki and the others don’t seem so happy to be together. They came out of habit, out of loyalty to their youth. In the past, they had talent, spirit. They made Paris laugh, sparkle at night. They are no longer very sure of having kept their promises. We navigate between humor and cruelty, derision and sadness. Édouard Baer elegantly signs the burial of a bachelor’s life, of an era, of a civilization: that of the white male, cultivated, in love with words to the point of intoxication. BdSV

A young girl who is well To have

History by Sandrine Kiberlain, 1h38

Sandrine Kiberlain goes behind the camera to talk about her debut as an actress but changes eras. A success. We don’t know if A young girl who is well , selected for Critics’ Week at the last Cannes Film Festival, is an “actress film”, a vague and catch-all category. It is in any case a film which resembles its author, light and serious, solar and painful, fragile and strong. Granddaughter of Polish Jews, the filmmaker transposes her memories and emotions during the summer of 1942, during the Occupation. Irène is a 19-year-old Parisian, drunk with love and theatre. She has the features of Rebecca Marder, a fiery actress who carries everything. The future belongs to him. Kiberlain avoids the clumsy re-enactment, with German soldiers marching in quick step through the streets of Paris. The anti-Jewish laws of 1942 are nonetheless accurately shown. E.S.

Our children’s souls – To have

Drama by Mike Mills, 1:48

For his third feature film, director Mike Mills delivers with Our children’s souls a black and white family chronicle full of tenderness and emotion. It all starts with a mother overwhelmed by the sudden crisis of a bipolar husband, whom she must support as best she can. She entrusts her 9-year-old son, Jesse (touching Woody Norman), to her brother, Johnny (Joaquin Phoenix). Uncle Johnny, a slightly misanthropic lone wolf, is a radio journalist. Forced to live together, the uncle and the nephew become tamed as the days go by. Mills’ intelligent staging, imbued with a beautiful sensitivity, gives pride of place to daydreaming and improvisation. Joaquin Phoenix is ​​overwhelming with tenderness and humanity. OD

Almost To have

Dramatic comedy by Bernard Campan and Alexandre Jollien, 1h32

This feel good movie in the form of an initiatory journey, entitled Almost, allows the Swiss philosopher Alexandre Jollien to take his first steps in the cinema. Funny, moving, this dramatic comedy is a kind of UFO in the landscape of French cinema. By its audacity, its simplicity, its authenticity, this hearse road movie addresses disability with subtlety, humor and tenderness, all signed by a former member of the Inconnus, Bernard Campan. It is above all the story of an unexpected friendship between Louis, a solitary and resigned undertaker (Campan as just as it is moving), who crashes with his hearse into a deliveryman of organic baskets on a tricycle named Igor, hit since birth with cerebral palsy. The character of Igor, a lively spirit in a handicapped body, circulates on the margins of society. Its lifeline is philosophy. OD

UndergroundAT See

Drama by Sophie Dupuis, 1 h 37

Without notice, Quebecer Sophie Dupuis drops us in the middle of a gold mine accident, in her native region of Abitibi-Témiscamingue, in western Quebec. Between family drama and survival, the director brilliantly depicts the descent into hell of a minor (Joakim Robillard) pursued by his past. Immersed in the intimate daily life of these underground workers, the explosion is all the more deafening. ah

A worldAT To avoid

Drama by Laura Wandel, 1:15

At school, little Nora sees her older brother being harassed by his classmates. She wants to talk, he forbids her. We knew that a playground was worse than a high security ward. This pocket money sandpaper version proves it once again. It was perhaps not useful to film all this with a camera at the height of a child, a bias that turns to the process and serves the purpose of a lucid pessimism. E. NOT.

The enemyAT To avoid

Drama by Stephan Streker, 1:45

The romantic weekend turns to tragedy. The wife of a Belgian politician is found dead in their hotel room at Bar de la Mer. The husband swears he did not kill her. Despite the efforts of Jérémie Renier, the director wanders between news item and melodrama. Better to see Suspicions again. The bottom of the Wesphael affair, the documentary devoted to the original story, much more ambiguous, not to say dizzying.E. NOT.


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