“Falling”: first film by Viggo Mortensen. Sensitive, poignant, a sacred film about filial love

– DRUNK by THOMAS VINTERBERG – With MADS MIKKELSEN, THOMAS BO LARSEN, MAGNUS MILLANG…

They are four high school teachers, four friends united “to life and death”, who try to cure their spleen and their neuroses with drunken rants. One day of shared blues, they decide to put into practice the theory of the Norwegian psychologist Finn Skårderud according to which, the man having been born with an insufficient alcohol level in the blood, it would be enough to compensate him to drive out his melancholy. At the beginning, the quartet is held to diamonds. The experience is about sharing, festive and controlled. But very quickly, they break the officially set rules. Their consumption becomes individual and dizzying. The hallucinatory trips to the land of Bacchus do not always make you stronger: instead of the hoped-for happiness, they will, one after the other, be caught up in a spiral of depression that will screw up their already so difficult life. . Begins a journey to the end of hell. Lurking in the shadows since the beginning of the film, the drama will arise …

It is not that he had completely disappeared from the screens but in recent years Thomas Vinterberg seemed to have given up on retaining his rank as a leading filmmaker, adored for the provocative audacity of his subjects (family or societal) and his way of working. filming in a mastery still bordering on out of control. With Drunk, who, in a naturalistic staging, dazzling with beauty and vitality, praises the virtues of alcohol at the same time as he denounces its misdeeds, the filmmaker finds his place as a child prodigy of cinema. Don’t miss it: crowned best foreign film at the last Oscars and Césars, Drunk is a masterpiece.

Recommendation: As a priority. (“Resurrected”)

– THE LAST VOYAGE of ROMAIN QUIROT – With HUGO BECKER, PAUL HAMY, JEAN RENO, BRUNO LOCHET…

In the near future, a mysterious red moon is being exploited to the limit for its energy. One day, it suddenly changes course and heads straight for Earth. Paul WR is the only astronaut capable of going to destroy it. He will however refuse. In fact, Paul is hiding a secret: He has the power to hear the thoughts of his fellows and, unfortunately, what they convey does not make him want to save those who conceive them. To evade his mission, the brilliant scientist will flee. Then begins a relentless hunt. But Paul crosses paths with Elma, a young teenager with an explosive temperament who will want to accompany him …

You had to have a fairly phenomenal nerve to dare to embark on a feature film with a science fiction film, which is the least “exploited” genre in French production. But passion gives wings, ideas, and pugnacity … Five years ago, in front of the great success of esteem achieved by his short film The last Voyage of the enigmatic Paul WR (which he had also written) , Romain Quirot decides to try to transform it into a long one. It took him almost five years to get there. But the result is there. His film is formidable, which mixes the intimate and the spectacular, holds the thriller for the rhythm and the ecological fable for the background, plays with the great images of science fiction and gives itself, as a bonus, the luxury of scenes. designed as a nod to the great contemporary American westerns. Formally, we have plenty of eyes. The photo is sensational, which alternates the color (sublime) and, for the flashbacks, a black and white to die for. In this Last Voyage, there are at the same time, Mad Max, Star Wars and Blade Runner, Luc Besson, Michel Gondry and Wim Wenders… And yet, despite its references and its borrowings, the film has a own personality. The distribution is, of course, up to par. In charge of the role of Paul WR, Hugo Becker fascinates by the intensity of his presence and the ultra-sensitivity of his playing. All the time on edge, he is magnificent of humanity and commitment. In the role of his father, Jean Reno imposes a restless and tender authority.

Recommendation: Excellent (New)

– MAÏWENN DNA – With MAÏWENN, FANNY ARDANT, LOUIS GARREL…

Neige (Maïwenn), divorced and mother of three, adores and admires Emir, her Algerian grandfather who protected her from the toxicity of her parents. When he dies, she is devastated, especially as conflicts erupt between all the members of his family. These family storms triggered a deep identity crisis in her, which prompted her to embark on a frantic quest for her identity and her roots …

Director Maïwenn doesn’t like people to say it, but she is never more moving and funnier than when she draws the subjects of her films from her own life. Because she never does copy and paste and she has a knack for bringing a touch of madness to her adventures! With her, you always have one foot in the movies, the other in real life, and your head in the stars. This talent anchors his films, at the same time as it gives them lightness.

DNA is well done. She starts from a mourning that deeply touched Neige, her central character (which she plays herself), and already, above the coffin of the deceased, the abracadabrantesque family settling of accounts bursts. Result: his film on death makes us want to laugh. And it continues, when, then, on a big blow of the blues, she decides to go in search of her roots. An obsessive quest that is accompanied by laughing sequences. Too bad that as the film goes on, Snow abandons one after the other her life companions – in particular her children and her sister – to concentrate only on herself, her pangs, her sorrows and her uncertainties. From universal, DNA then falls into anecdotal. It is all the more annoying that the film does not lose the hallmarks of the filmmaker, which are humor and rhythm and her capacity for indignation. As always with Maïwenn, the cast is top-notch. Fanny Ardant, in particular, is an imperial humorist, a tyrannical, icy and quirky mother. As an ex-de Neige, Louis Garrel confirms that he is one of our finest performers, one of the most hilarious too.

Recommendation: Good. (“Released”)

– SLALOM by CHARLÈNE FAVIER – With NOÉ ABITA, JEREMIE RENIER, MARIE DENARNAUD…

Fifteen-year-old Lyz joined a ski-study class in Bourg-Saint-Maurice in the hope of becoming a champion. But, between a lost mother and a father with absent subscribers, she is psychologically fragile. Her new trainer, a guy, a real one, one of those who love winning, sliding, danger and medals, will take advantage of her weakness and her loneliness to exercise a growing hold on her. Little by little, without even realizing it, Lyz will organize his life according to the orders and impulses, less and less controlled, of his coach. Until the day when, in an uncontrolled fit of madness, the latter rapes her.

Even if she does not hide that her screenplay was inspired by her personal experience, Charlène Favier puts Slalom right on target, notably, in recent months, has lifted the omerta on scandals. sex in figure skating. The filmmaker, whose first film is, could have fallen for the clumsy demonstration. Quite the contrary, her film rushes down a scenario that she has perfectly marked out: it is straight, direct, tense. However, as her heroine is a potential ski champion, as soon as the scenario gives her the leisure, she takes us on the snowy slopes. Running down them with Lyz gives sequences of exhilarating beauty.

In scores that are nevertheless very complex to play, the two main actors are formidable in their naturalness and accuracy. Between seduction and threat, Jérémie Rénier is perfect in his role of toxic and dangerous coach. As for Noé Abita, whom we had discovered in Ava, then admired in Le Grand bain, she is quite simply stupendous, at the same time fragile and hurt, determined and indestructible. At 21, this young performer who has never taken acting lessons shows that she has an instinct for acting which places her among the best of her generation.

Recommendation: excellent (New).

– THE EMBRACE of LUDOVIC BERGERY – With EMMANUELLE BÉART, VINCENT DEDIENNE…

Widow for six months of a husband much older than her, Margaux, in her fifties (Emmanuelle Béart), returns to live with her sister, near Versailles, to start a new life. She decides to resume studies in German literature. But quickly, she feels the need for other emotions and multiplies the meetings within her university. Despite her efforts, she struggles to find a soul mate. After so many months of solitude and confinement, relearning to live and to make your body exult again is not so easy …

For his first film Ludovic Bergery wanted to retrace the journey of a woman, long cut off from the world, who wants to give life to her desires. He does so by resolutely adopting the point of view of this woman, in a subtle mixture of modesty and rawness, fever and emotion, joy and sadness. The beauty of his film comes a lot from the fact that we feel he is fascinated by his heroine. Her camera hardly ever lets her escape her field. And she, Margaux accepts to let herself be “captured” in a fascinating abandonment, as physical as emotional. Margaux is Emmanuelle Béart. It has been nine years since the Marianne of La Belle Noiseuse and the Camille of Un coeur en hiver had not had a leading role in the cinema. With the Embrace, she signs a return to the magnificent cinema. His performance is intense, stunning in accuracy and sensitivity.

Recommendation: excellent. (Novelty).

– CHIFFON BOY by NICOLAS MAURY – With NICOLAS MAURY, NATHALIE BAYE, ARNAUD VALOIS…

Jérémie is an unemployed homosexual actor, sensitive, fragile, offbeat and with a jealousy that has nothing to envy that of Shakespearian Othello. After a grueling breakup and yet another professional failure, he left for Limousin to heal his discomfort with his mother …

If you are a fan of the Ten Percent series, of course, you know Nicolas Maury. It is he who embodies the so lunar and so talkative assistant of the agency of stars. This delicate and delicious actor, who we had also seen, as a lyrical French teacher in Les Beaux Gosses by Riad Sattouf, went behind the camera to sign a “drama” that we guess is very autobiographical. Helped with the writing by Sophie Fillières and Maud Ameline, two seasoned screenwriters, he takes advantage of this uncompromising self-portrait that he makes of himself to evoke both the twisted shots of the film industry and the complexity of mother relationships. son. This gives this film in turn moving, melancholy, serious, playful and hilarious. Nicolas Maury also takes the opportunity to show that he also knows how to handle self-mockery. The slight narcissism of his film can annoy in the long run, but we still take pleasure in watching it. A guarantee of the quality of this Rag Boy, he had received the Cannes 2020 Label.

Recommendation: good (“Released”).

– 100% ALEXS STADERMANN WOLF – ANIMATED FILM

Freddy Lupine and his family are hiding a big secret. By day they are ordinary humans, but at night they transform into werewolves. On his 14th birthday, Freddy has to transform into a werewolf for the first time. But the evening of his initiation, he becomes a… little pink poodle. Excluded from his camp, he will have to use a thousand stratagems to demonstrate that he is indeed … 100% wolf …

Taken from an Australian book for children which had been a hard cover, this animated film has everything to seduce the little ones: it brilliantly recounts the adventures of a lovable, loyal, talkative and reckless hero. It is full of shimmering colors, its characters are endearing, its sets are eye-catching, its soundtrack is nickel and its French dubbing, impeccable. Another argument? It comes out of Studio 100 to which we owe Maya the Bee and Vic the Viking, which is saying a lot!

Recommendation: excellent. (“Released”).