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♥♥♥ "The Guilty" by Gustav Möller. Danish Polar, with Jakob Cedergren (1:25)
Incredible, miraculous, this film. The eighty-five minutes of "The Guilty" are electric. All the time, you're in front of a face, a computer screen or a phone, and yet the suspense would be enough to get a Zen master to go to Temesta-vodka.
We are in a call center of the police in Denmark. At the controls, Asger, impatient young cop, who picks up – he is posted for a burr. Comes a desperate call. A woman, kidnapped, locked in a car, asks for help. Which vehicle? White. Which way ? Do not know. Who is the kidnapper? The call is cut. Asger takes things in hand, carbonizes the administrative sector, calculates an interception, painfully dialogue with the hierarchy, seeks contact. Minute after minute, he thinks he understands what is happening. The victim's calls are chopped up. The GPS works badly. Asger discovers terrifying details. Over there, on the road, somewhere, the life of a woman is played, in horror …
Gustav Möller's first film, 30 years old, is a concentrate of stress under amphetas. We never leave the call center, we never see the victims, never the camera comes out, and yet we are riveted. Everything happens under the neon lights of a cold room, with a cold rage that underlies the image. The actor, Jakob Cedergren, present in each plane, is inhabited, directed with a precision of manic surveyor. While there, somewhere, is playing a drama where the culprits ("The Guilty") are perhaps not those we believe, the film goes from the brittle and impersonal light of the alert room to the half darkness of a deserted office.
The director and his screenwriter, Emil Nygaard Albertsen, succeed in the impossible: to reinvent a dead genre. From "Cursed", René Clément (1945), to "Phone Game", Joel Schumacher (2002), through "Repulsion", Roman Polanski (1965), "Panic Room", David Fincher (2002) , the stifling camera was used, reused – and used to death.
Sidney Lumet's (1957) "Twelve Men in Anger", a high-voltage drama, inspired Möller. Good pick: everything, image, sound, atmosphere, is subjected to a constant dramatization, in "The Guilty". The urgency goes up with a ultra-thin sound design . The image, little by little, captures the shadow. Asger's face breaks as a result of his mistakes and his necessary redemption. There, somewhere, in the night, humanity falls into an unforgivable crime. Here, in the cinema room, the spectator is in surge.
François Forestier
♥♥ ] "Maya the Bee 2. The Honey Games", by Noël Cleary and Sergio Delfino. German cartoon, with the voice of Jenifer Bartoli (1h23).
Maya decided to wear the colors of her hive at the Great Honey Games. At the head of a team of broken arms, she will do everything possible to achieve the impossible: beat the champion in title, a little princess minion, daughter of an authoritarian empress. A cartoon for toddlers, industrial and smooth in its manufacture, but boosted by a playful and tender scenario that says the value of the abandoned and warns against the toxic interference of parents who push their children to triumph by proxy, where they failed.
Xavier Leherpeur
♥♥ "The Father of Italia ", by Fabio Mollo. Italian comedy, with Luca Marinelli, Isabella Ragonese, Anna Ferruzzo (1h32).
Lonely homobadual, Paolo crosses one evening the exuberant Mia, who embarks him after him in a chaotic crossing of Italy and involves her in her future pregnancy. Without knowing that the question of having a child was at the origin of the separation of the young man with his lover. An acidic and melancholy comedy, sometimes uneven, but which scrutinizes the disorder of badual identities, evokes these homoparental families denied by the current Italian government and calls into question, without strong activism, the definition of the family and the ties of blood
Xavier Leherpeur
♥♥ "Come As You Are", ] by Desiree Akhavan. American drama, with Chloë Grace Moretz, Sasha Lane, John Gallagher Jr. (1:31).
This happens in 1993, it could, alas, take place today. Cameron Post, a bad teenager, is sent by her aunt and guardian (she is an orphan) to the disciples of the Promise of God, an evangelical re-education camp, to heal her homobaduality. On the program: group therapy, Christian rock concerts, gym blessing clbades. A certain idea of hell on earth that the director Desiree Akhavan treats in a bittersweet tone, by little touches imprinted with a joke that does not elude gravity. In the image of Chloë Grace Moretz, impeccable interpreter of Cameron Post, whose impenetrable face expresses as much curiosity as stupor. Far from the clichés, the film remains on the tracks of an American independent cinema which holds on its actors more than on its intuitions of staging.
Nicolas Schaller
]
♥♥ "My favorite fabric", by Gaya Jiji. Franco-German-Turkish drama, with Mbad Issa, Ula Tabari, Mariah Tannoury (1:35).
2011. Nahla lives in Damascus with her mother and two sisters. Refusing an arranged marriage with an expatriate who would shelter her from the earthquake shaking her country, she prefers to hang out in the lupanar that holds beneath her home a benevolent mother madam. Nahla observes, fantasizes and spies on the customers, including a badist of reading fairy tales, while outside the demonstrations sink into violence and announce the civil war. Gaya Jiji, a Syrian filmmaker based in Paris, tells of a nascent feminine baduality during the "Arab Spring", punctuates her story in real-life picture rooms (news or smartphones) of the streets that are burning and filming her two gynaeceums – a fatherless family and a brothel – like two falsely protective cocoons. We will remember from this first film his troubled portrait of a teenager (formidable Mbad Issa) who is built against fear and patriarchy, and his sensuality, his quirky fantasy, evoking "the Arabian Nights."
Nicolas Schaller
♥♥ "Paul Sanchez is back!", by Patricia Mazuy. French dramatic comedy, with Laurent Lafitte, Zita Hanrot, Philippe Girard (1h51).
Panic at the gendarmerie of Arc-sur-Argens: Johnny Depp was surprised on the edge of a road with a prostitute! The local BFM correspondent scents a scoop. "Paul Sanchez is back," replies a cap to drown the fish. Rumor spreads as a sinister guy (Laurent Lafitte) wanders around the area at the wheel of a pool salesman. Could it be the famous Sanchez, who, ten years ago, killed women and children before disappearing into the wild? Marion (Zita Hanrot), an ambitious young policeman, investigates
On paper, it's exciting: a fake thriller mixed with humor at the "P'tit Quinquin", inspired by the Dupont de Ligonnès affair, on fake news and social misery in the peri-urban areas of the Var filmed as a western setting. On the screen, between the flatness of the video image and ruptures of your rider, the film of Patricia Mazuy ("Saint-Cyr") is more ungrateful. The proposal, singular and punctuated at the time, is nevertheless worth seeing.
Nicolas Schaller
] ♥♥♥ "Ant-man and Wasp", by Peyton Reed. American superhero movie, with Paul Rudd, Evangeline Lilly, Michael Peña (1h58).
Sexy, follower of self-irony, fan of Morrissey and wise among the wise since knowing that size (he can modulate his from tiny to gigantic) does not count, Ant-Man is the coolest superhero of the Marvel gallery. This second episode, as alert as the first one, rich in stunning and second-rate special effects, militates for the equality between man and woman (Wasp, its partner of justice, has nothing of a stooge), and sees the beautiful Michelle Pfeiffer land in the saga. Why sulk his pleasure?
Xavier Leherpeur
Missed
"Black River", by Erick Zonca. French Polar, with Vincent Cbadel, Romain Duris, Elodie Bouchez (1h54).
Despite all the sympathy we can have for Zonca, a brawler, self-taught, late director (at age 42, in 1998 , he signs the super "dream life of angels"), it is clear that his new film is disappointing. Visconti (Vincent Cbadel), used cop, grumpy, alcoholic, investigates the disappearance of a teenager, while his own son deale shit. Against his hierarchy, against his own demons, and while a strange character, a kindly homo teacher who dreams of literature, played by Romain Duris, fits into the research, Visconti will continue his path. Repetitive scenes, questionable actors' direction (Cbadel in neo-Jouvet), lengths … Visibly, the director controls his history badly, damage.
François Forestier