CRITICAL – A little story of skulls, a duel at the Fourcade-Pirès summit or the latest investigation by Corinne Masiero… What should you see – or not – on your screens until March 19?
At the top of the snow-capped Saisies resort, Martin Fourcade became, for five days, the mentor of Robert Pires. The most successful athlete in the history of biathlon trained the 98 world football champion, who had hardly ever worn skis. These two athletes, who had never met, shared their daily lives in Savoie. Between interviews and training slaloms up to the climax, a face-to-face in which Robert Pirès faces Martin Fourcade on his own ground. This challenge awakens the great, even the overwhelming spirit of competition that drives these two champions. Through this stimulating and educational documentary, these high-level athletes, usually resistant to confessions, also reveal their sensitive side. And their unpublished secrets about their respective careers prove that we cannot separate the man from the athlete.
He talks about it with stars in his eyes, of these months spent with François Hollande. Olivier Benhamou did the socialist president’s hair at the Élysée, for a monthly salary of 9,900 euros which had hit the headlines at the time. His analysis brings a smile to his lips: “François Hollande, it’s a fine hair, it’s a soft hair.” Beyond this comical sequence, this very successful documentary reflects on our society’s view of bald people and other bald people. A new subject. With sensitivity and humour, Éric Judor, Frank Lebœuf or the youtubeur Carlito recount the anguish of baldness, a manifestation of an overly impatient old age and, for some, a lack of masculinity. To be bald, then, is to feel naked. And attract kisses… All explain that their smooth skull was, one day, targeted by an overly affectionate loved one. We’ve come a long way since the 1960s. At the time, zero balls wore hairpieces to go unnoticed. The fame of eminent bald people, from actor Yul Brynner to Zinedine Zidane, has probably played a part in this development.
Virginie Apiou looked into the “case” of Jean-Pierre Mockyauthor, actor and singular director to whom Arte devotes a cycle (A funny parishioner, broadcast this Monday at 8:50 p.m.). According to the director of this successful documentary, the man, who disappeared in 2019, delivers in his films “a vision of society in a way never before envisaged”. Reflecting a certain France inhabited by atypical characters, petty bourgeois and ordinary people, talkative, grumpy, rebellious, casual, murderers, policemen, thieves, sentimental too. Often determined: “We’re going to blow it all up!” announces Claude Rich in The Companions of the Marguerite. Ahead of his time, an attentive observer of the times and a precursor, Jean-Pierre Mocky invented express divorce, wrote pamphlets against television (La Grande Lessive, Is there a Frenchman in the room?), denounces the consumer society (Solo), defends the right to abortion and even talks about the pension system (A shroud has no pocket). The filmmaker uses temperaments – Bourvil, Jacques Dufilho, Jean Poiret, Jacqueline Maillan… – to illustrate his thoughts. “Mocky’s cinema has a free intellect”, nicely summarizes Virginie Apiou, whose portrait has everything of a very documented thesis. To see to discover a new facet of the filmmaker.
There series Luther graced the BBC from 2010 to 2019 with just twenty episodes. Too little to, it seems in the eyes of the producers, satisfy the fans of this tormented investigator of the criminal section of London, camped by Idris Elba. Both a profiler and a thug, John Luther penetrated easily into the minds of thugs and murderers, while trying not to become one. In this film, taken from the series, therefore, he comes up against a very wealthy cybercriminal (Andy Serkis, The Lord of the Rings). The mogul mines the depths of the internet from our connected devices to collect everyone’s most shameful secrets and blackmails thousands of Internet users, when he is not pushing them to suicide or kidnapping and killing them in bets in macabre scenes. From series creator Neil Cross, this mouse-hunting game kicks off under breathless auspices with a cerebral clash between two twisted minds. In this duel interferes the one who took over the post of Luther, the inspector Odette Raine (Cynthia Erivo, more than ever bad). But, very quickly, this adventure contradicts or ignores certain key elements of the introductory episodes – such as the killer character of Ruth Wilson, opponent and object of Luther’s desire. fallen sun even leaves the ground of the psychological thriller to drift towards the lambda big show action film. Luther then turns into a superhero, a strange hybridization between James Bond and a Marvel Avenger. The last act of this film, which takes place in the Norwegian glaciers, apparently leaves the door open for a sequel. If it happens, hopefully it will have something more to tell.
Each season has its nanars, young or old… Coming , launched on TF1 on February 27 and available on Salto until March 27, the date on which the platform will unfortunately cease to exist, integrates this motley and colorful pantheon, with six 52-minute episodes whose nothingness leaves you speechless. Not that the idea is bad – a young thirtysomething comes in contact with himself, twenty years earlier, and tries to change the course of history in order to save his older sister from spending the rest of her life in A wheelchair. Not that the cast is bad – Kev Adams portrays the hero, surrounded in particular by Natacha Lindinger, Guillaume de Tonquédec and Éric Elmosnino. Not that the soundtrack, rather chic with an electronic sounding, is off-putting. Yet nothing is right. Neither the rhythm, nor the zany aspect that one could expect from this trip back in time, nor the acting, nor the dialogues, were it not for a few rather pungent lines, hit the mark. The perplexed viewer can only wonder. It is not even certain that this small series with no future will appeal to children.
“War sucks (…). The men shoot and the women get shot.” Of marleau, no, sorry, Corinne Masiero in the text since the director Josée Dayan, who may be rolling mechanics, no longer holds her creature at all. To our dismay and that of part of the public (audiences plummet with each broadcast), the director lets her rebellious “star” rewrite all her lines. Ecology, radical feminism, criticism of social inequalities which turns to the stupid caricature of the notables… In this new episode, which plunges into the universe of Napoleonic reconstructions, the captain therefore delivers all his Melenchonist breviary. We pity Yvan Attal, who, facing her, drags the emotional misery of his character, a lawyer as flamboyant as y. He seems just as annoyed as we are by the pion of the gendarmettes. Especially since there is an old dispute between Marleau and this tenor of the bar. Faced with this ill-matched duo, Amira Casar overplays sadness in the dark suit of a ruined antique dealer who has to take care of her sister, left quadriplegic by a car accident. As for the Emperor’s lovers, they are completely ridiculed, reduced to simple kids playing with their little toy soldiers. Or to patients with acute collectionitis. This episode is called World War One. The title sounds like a provocation as we would like Marleau to swallow his chapka and finally live his Waterloo. ■
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