THE MORNING LIST
The spectator who does not have the chance to discover, on the Croisette, the films presented at the Cannes Film Festival, organized from May 16 to 27, will nevertheless be able to see this week the feature film which made it, Tuesday, the ‘opening : Jeanne du Barry, by Maïwenn. The rest of the cinematographic offer is quite limited. On the bill, the tenth part of the automotive adventures of fans of urban rodeos of Fast and Furious, a new role for Gérard Depardieu in the shoes of a starred chef who has gone to recharge his batteries in Japan (Umami), or even a dive into the world of work where representatives of the old and the new world oppose each other (The Standing Man).
Why not
“Fast and Furious X”: last chases at the limit of treading water
The tenth film in the franchise Fast and Furious opens the final chapter of one of the most popular sagas in the world, launched twenty-two years ago. Directed by Frenchman Louis Leterrier (The Transporter, Clash of the Titans, The Incredible Hulk), the episode is awaited at the turn, in particular after the tour de force of Fast and Furious 9, which exceeded $ 700 million in revenue, in the midst of a pandemic. In the midst of these umpteenth pileups of displacements, we find the look a little stupid but without ulterior motives of Dom Toretto (Vin Diesel) and his “family”, a band of urban rodeo enthusiasts who believe in him. You have to settle for a new grand-guignolesque supervillain, Dante Reyes (Jason Momoa), with a varnish to match his parma car, so as not to have the impression of standing still. The charm of the franchise lies in the stubbornness of the heroes to drive their favorite cars that have become really too small for them. Popeye in Hot Wheels. Mr. Dl.
American film by Louis Leterrier. With Vin Diesel, Michelle Rodriguez, Jason Momoa (2 h 21).
“Jeanne du Barry”: Maïwenn draws Louis XV’s favorite to her
Screened on Tuesday May 16 at the opening of the Cannes Film Festival, and at the same time in cinemas, Jeanne du Barry, dedicated to the fate of the famous courtesan of popular extraction and the hostility that her relationship with King Louis XV would earn her at court, confronts the delicate challenge of period film and, within it, what one could name the “court film”, whose intrinsic pomp ripolins most of the productions devoted to the genre. Maïwenn, for her part, remains faithful to her inspiration, which consists in being able to create only from herself. Setting her sights on the favorite of Louis XV (played by the American Johnny Depp), she does not go so much towards the Du Barry (whom she embodies) as she draws her to her, giving, similarly, court of King Louis XV an image which is familiar to him, and which could evoke the middle of the 7e art as she perceived it when, ex-wife of the king of French cinema Luc Besson, she sought to penetrate its mysteries. J. Ma.
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