All the beauty and the bloodshed, Emily, Un varón… What movies should you see or avoid this week?

All the beauty and the bloodshed, Emily, Un varón… What movies should you see or avoid this week?

An American photographer of the 1980s embarks on a new fight, the biography of a wild and tormented writer, a young Colombian struggles to recognize himself in the image of the real man… The cinema selection of the Figaro.

All the beauty and the bloodshed AT see

Documentary by Laura Poitras, 1h57

At the end of 2017, the American Nan Goldin embarked on a new fight: activism against the Sackler family, responsible, she says, for the opiate crisis in the United States and around the world. In the company of other artists and activists, photographer of the Roaring 1980s founded a collective that advocates the reduction of health risks and the prevention of overdoses. Laura Poitras’ film on this crusade, All the beauty and the bloodshed, is perfectly constructed, often through the artist’s story, her beautiful escape from her repressive family, her arrival in New York within a gay community which welcomes and fascinates her. All his photographic work is there, in this intimacy of the beautiful and the ugly, of love and its antithesis, violence, illness, AIDS, the brutal loss of this dream world. DV

A varon AT see

Drama by Fabian Hernandez, 1h22

Carlos lives in a poor neighborhood of Bogota. His mother is in prison and Christmas is coming. He wants to help her. For this, it is necessary to integrate a ” strip “ of drug dealers. You also have to become a “varon”, macho and muscular. By focusing on the quest for identity of a young Colombian who struggles to recognize himself in this image of the real man, Fabian Hernandez avoids clichés and the glorification of violence. PB

Wise man AT see

Comedy drama by Jennifer Devoldere, 1h45

Leopold (Melvin Boomer, the JoeyStarr of the series The world of tomorrow) is the eldest of four boys. His mother died of cancer nine years earlier. When he fails the medical entrance examination for the second time, he has no choice but to enter the school of midwives. His bourgeois friend, who also failed, has the means to study in Hungary. Not Léopold, who puts on the pink blouse but plans to try in the third year to switch back to medicine – a bridge is possible. In the meantime, he is chomping at the bit and lying to his father, who is too macho to accept his son embarking on the path of obstetrics. Léopold ends up finding his place in the delivery room, until a very beautiful scene which sees him washing and dressing a stillborn baby before showing him to his parents. Watching Sage Homme, one thinks that Thomas Lilti, the doctor turned filmmaker (Hippocrates, A country doctor, First year), produced babies. Or at least a little one, Jennifer Devoldere. She likes pink. Above all, she has a talent for giving birth to an original hospitable character on a terrain marked out by cinema and television. ES

Emily You can see

Biopic by Frances O’Connor, 2h10

Jealous, go. His sister tells him that she wrote a despicable book. Emily is dying and that’s all Charlotte can find to do. She doesn’t want to believe that The Wuthering Heights only required a pen and paper. Indeed, there is something else. This thing is called William Weightman. He is the new vicar, a vague double of Daniel Day-Lewis, whose charm Emily does not remain insensitive. The young lady is brown and original. In the village, they call her “the weird”. She wants to live up to her reputation. Putting on a mask, making the spirits speak, for her, it’s child’s play. There is no question of her becoming a teacher. Dreaming, inventing stories, staying true to his dreams and his imagination, that’s his program. She hadn’t planned to fall in love. This Emily is a whirlwind in a patterned dress. Emma Mackey supports this genesis of a masterpiece from start to finish. She is wild, tormented: a bee against the glass. It’s always fun to roll around in melodrama, to follow in the footsteps of a writer’s figure. Frances O’Connor displays a classicism that is almost audacious. She multiplies the races in slow motion on the moor, offers herself a tad invasive music, sometimes tends to confuse romanticism with rural courtesies à la Terrence Malick. IN

crazy bear – You can see

Thriller by Elizabeth Banks, 1h35

Cocaine Bear released today in France under a watered down title, crazy bear, a strange euphemism in a country that claims to be free from prejudice when it comes to art. Might as well call a spade a spade, and a nutty bear a nutty bear. There’s nothing crazy about the hero of Elizabeth Banks’ film. It is indeed a bear addicted to cocaine. The fault of a drug trafficker who dumps a cargo of gunpowder as his plane flies over a natural park in Georgia before crashing. This improbable scenario is inspired by a true story that occurred in 1985. With intermittent humor, Elizabeth Banks draws a dark and gore comedy from it. In its best moments, crazy bear looks like a Tex Avery crazy. But his cartoonish humor is too intermittent. stop being stupid, crazy bear could have been a lot meaner and a lot funnier. ES

Houria AT avoid

Drama by Mounia Meddour, 1h38

The director of papicha returns with this story of redemption where, after an attack, a dancer must give up her dreams. This Algerian version ofIn body suffers from a certain sentimentality but remains touching. IN

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