A sports biopic, a drama on consent, a splendid portrait of a woman … Discover the cinema selection of the Figaro.
The Williams Method , a sports biopic by Reinaldo Marcus Green, 2h18
The paradox dies hard. Sport and cinema may be the two most popular entertainment options in the world, but their meeting rarely sparks at the box office. With the exception of boxing (Raging Bull, Rocky and other Creed), a noble art prized by cinephiles, the other disciplines passed through the filter of fiction do not attract crowds in theaters. It must be said that they are not always well treated. The little yellow ball bounces this time with The Williams Method, by Reinaldo Marcus Green. Not quite a biopic but a portrait of Richard Williams, the father of tennis champions Venus and Serena Williams. They are still just two kids from Compton, the black ghetto of Los Angeles, when the story opens. But their progenitor has planned everything. He wrote a 78-page career plan for his daughters, before they were born. In Richard’s suit (tight tennis coach shorts), Will Smith finds his best role since Ali, and is expected to land an Oscar nomination. He recreates the ambiguity of this controversial character, a patriarch at once tyrannical and sacrificial, visionary and rogue, severe and loving, unbearable and endearing. É. S.
Human things , a drama by Yvan Attal, 2h18
To be a man, to sign a film exploring the subject of consent, to involve his family in it. By transposing the successful novel by Karine Tuil Human things with, in the flagship role of an offspring of the Parisian intelligentsia accused of rape, his beginner son Ben Attal, Yvan Attal takes risks. His son plays Alexandre Friel. Promised to a bright future, he graduated from Stanford. He is the pride of his mother Claire (Charlotte Gainsbourg), feminist essayist, and his father Jean (Pierre Arditi), a womanizer political journalist who clings to his presenter seat. This facade cracks soon. Ben Attal marvelously combines the awkwardness and arrogance of his character who has never thought of calling into question his relationship to desire and to women. As a lawyer for the Friels, Benjamin Lavernhe, with infinite patience in police custody and masterly humility in pleading, maintains the tension throughout the legal process. In its wake, Human things haunts the mind for a long time. CJ
At the beginning , a drama by Dea Kulumbegashvili, 2:05
In an isolated village in Georgia, a priest discusses Abraham’s sacrifice. At the back of this barracks serving as a church, the fixed camera transforms the spectator into an observer. A projector echoes images of sacrificial paintings. The atmosphere is collected, and the device sets up an atmosphere that oscillates between light and dark. As if good were waltzing with evil. The missionary of Jehovah’s Witnesses will not have time to complete his sermon. The 34-year-old director constantly challenges the viewer to confront the brewing drama. A terribly successful first film. OD
The Devil does not exist, an Iranian drama by Mohammad Rasoulof, 2h32
Mohammad Rasoulof divided The devil does not exist in four chapters. They will have a common theme. The film revolves around the death penalty. The Iranian director films in a kind of clandestinity, examines the contradictions of his society, details the moral choices available to each other. The executioners wake up some mornings at dawn, drive to where their task awaits them. So what ? They are just one link in the chain. This banality freezes the blood. The anonymous deaths haunt these sequences, the effectiveness of which competes with beauty. We realize that the cinema has a strength that belongs only to it. Fiction is worth all documentaries. There is something abrasive about these absurd, everyday chronicles, where a flashing neon in a parking lot because of a false contact risks announcing the worst. Do not trust the title. The devil does exist. There it is, on the screen. He is everywhere. É. NOT.
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Madres Paralelas, a drama by Pedro Almodovar, 2h00
Holy old Pedro. After the vibrating Pain and Glory , he returns to his habits. We see it coming. The landscape is familiar. Two women, a young and a blackberry, give birth at the same time. They did not know each other, but their destinies will be inextricably intertwined. The admirers will be in heaven. Penélope Cruz carries from start to finish this melodrama treated a little over the leg, with a good dose of starched dialogues, like ” Franco for Dummies», And a feeling of déjà vu (Rossy de Palma returns with delectable buffoonery in his fitted suits). Come on, if the Spaniard is inspired by a success of Chatilliez and Cried cuervos , there is no harm in that. But if we stopped screaming at the masterpiece at the slightest sigh, it would be even better. É. NOT.