“Unbelievable but real”, “The Prince”, “With love and determination”: the movies of the week

Be aware that there will be no further delay in all of our reviews of the week’s cinema releases.

This week, love is spoken through thousands of faces. It is already breaking down in Dupieux, holding back the chains of society The prince and I tremble, O matadorcombined in the past with My loveand finally, born again more incandescent than ever in Claire Denis’s skillful look with Good job.

Unbelievable but true by Quentin Dupieux

on Unbelievable but true, There’s definitely a paranormal MacGuffin (a time -trap story that carries a moral story of old age – this is the nodal point of the plot, and at the same time frankly not the energy of the film), but what we have noticed for the most part – and this is probably the first time in Dupieux’s filmography – is this normality. That couple who look like “us” but seem to be trapped, whose lives are nothing but cliches, platitudes, rumblings. By Théo Ribeton

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The prince by Lisa Bierwirth

The prince is a beautiful sad romance where chaos and order combine in a sweet and defeated embrace. Everyone knows it’s gone already. Their world is so far away. However, a miracle happened: a short idyll that escaped everyone, economic and social precepts. All this thanks to the good chemistry between the actors, both passionate about sensuality. By Emily Barnett

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My love by David Teboul

From a small provincial church with a snowy sky, the film involves two life movements: naked bodies delivered in caresses and the burning text of David Teboul’s voice-over (well narrated arousing Guy Gilles in his dictionary and in his grief) tied to the faces of the old souls of the taiga drawing, with their responses, a demented cartography of the feeling of love. By Arnaud Hallet

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Good job by Claire Denis

Good job, plastic object of indisputable beauty, which Agnès Godard won César for best photograph in 2001, slowly examines important metaphysical questions. His formal research and his performance have always shown the separation of bodies and the suppression of inclinations. Rarely do films sketch such a force in the forbidden relationship between men. By Rose Baldous

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I tremble, O matador by Rodrigo Sepulveda

The problem with Rodrigo Sepulveda’s adaptation is that it ignores the entire section of Pedro Lemebel’s novel, which is similar to the protagonist’s soliloquies, “La Loca”, the vain thoughts of Pinochet’s wife, passionate about style, and those, homophobic, of the dictator. in person. All the baroque and delirious parts of the book are gone. So the action focuses on La Loca’s love for Carlos, and that’s it. By Jean-Baptiste Morain

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The next day I crossed over by Sepideh Farsi

Very interesting, the story of The next day I crossed over, floating to the tune of his characters, sadly never succeeds in imprinting himself on the viewer’s retina, constantly sliding over it, even if Sepideh Farsi’s film portrays an exciting and appalling situation on paper: a migrant who believes he was saved and found. to herself in a sacrificed country of Europe, and to a woman who no longer knew which saint to offer herself. We salute all of its very beautiful soundtrack, thanks to trumpet Erik Truffaz. By Jean-Baptiste Morain

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Ventura by Pedro Costa

Ventura (Money Knight), an eight -year -old film, once again calls for unique creatures, these brilliant bodies captured geographically in Fontainhas, a district now famous for the mythology of the Portuguese filmmaker. They always express, unobtrusively and consistently, like birds or myths, the usual dream of the sides where Pedro Costa is the patient and serious painter. The actors are balls of light set in the cities, trees and rocks of a shocking Lisbon, cut with a knife. By Arnaud Hallet

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Sweat shirt by Magnus von Horn

Despite the moving spleen coming from the image, Sweat shirt leaving the feeling of touching only the full depth of the subject (the relationship of the character to the body and the food will be introduced before leaving). Enough to feed some regrets because Magnus von Horn seems to have the material and talent to give birth to a great contemporary picture. By Ludovic Beot

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Boom Boom by Laurie Lassalle

The amorous utopia of one who dreams of a better world, the film revolves around these two revolutions, the intimate and the collective. From the frankness of a blossoming feeling of love, to the soothing honey of a hug, the intense violence of police repression has collided. Boom Boom, it was a heart beating like the explosion of a disencirclement grenade. By Ludovic Beot

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