Tar, Mayday, Back to Seoul… Which movies should you see or avoid this week?


An inspired and Nietzschean masterpiece, an unpretentious action film, of a bitter beauty and a return to the sources in reverse of the clichés… What should we see this week? Discover the cinema selection of Figaro.

Tar – A must see

Todd Field drama, 2:38

First there is Cate Blanchett. It’s a monster. It is a landmark. She concentrated all her previous roles and that gave Lydia Tár, this conductor at the peak of her career and who leads today the Berlin Philharmonic. She knows what she wants, doesn’t fear much, displays phenomenal class. No, she doesn’t read reviews. To do what? Leonard Bernstein was his mentor. That’s enough for him. The patrol will catch up with her soon, via social networks, who accuse her of harassment, and even worse, with former assistants (the new, Francesca, interpreted by Noemie Merlant, adopts a rather troubled attitude). The film wins, rises above the lot. Todd Field leads her story with a sure line, manages areas of ambiguity, paints the portrait of an intransigent and manipulative artist. This is the story of a fall in slow motion. The term masterpiece, which appears weekly on Morris columns, is overused. For once, he wins. IN

may day – Have

Action film by Jean-François Richet

This is a simple, effective and sincere action film, made the old-fashioned way by Jean-Francois Richet (Mesrine,The Emperor of Paris ). The thing is rare enough to be reported, in a context where American blockbusters are often turnips infatuated with themselves, where the action drips without rhyme or reason, with aberrant camera movements that make you dizzy. On the eve of New Year’s Eve, Captain Brodie Torrance (Gerard Butler, believable, more spartan than usual) is about to embark. This Scottish airline pilot, who thinks only of celebrating the New Year with his daughter and his wife by eating haggis (the famous stuffed sheep’s stomach from the Highlands), has no idea that he is about to drag its passengers into the heart of a tempestuous adventure. A seasoned professional, Jean-François Richet seizes his subject with know-how. We emerge from may day shaken and rejoiced, happy to have seen a perfectly choreographed spectacle, of a bitter beauty. OD

The Asada Family – You can see

Comedy by Ryota Nakano, 2h07

For his 12th birthday, he was offered a Nikon F1. Since then, the youngest son of the family has not stopped machine-gunning everything around him. A silly idea comes to mind. He will take his loved ones in various accoutrements, in the situations of their choice. So here are the Asada as firefighters, yakuzas, footballers, restaurateurs. This initiative turns them into celebrities. You have to find a publisher to bring all these shots together. And an exhibition? If a gallery hosted all these group portraits? Very quickly, customers are jostling in front of Masashi’s lens. Such is the first part of this delicate film, of an unusual sweetness, with something touching, everyday. The story changes with the 2011 tsunami.
The film is of a confusing simplicity, of a tender obviousness. Thanks to this chronicle, which seems to be whispered, we say to ourselves that sadness is a Japanese feeling. IN

Return to Seoul – You can see

Drama by Davy Chou, 1h59

Usually, orphans make people cry in cottages and cinemas. This is the kind of Freddie, the heroine of Return to Seoulthe new film by Franco-Cambodian Davy Chou, noticed at Cannes (in the section In some perspective). Alternately cold, taciturn and suspicious, like a wounded animal, the young Frenchwoman sets foot for the first time in South Korea, the country of her biological parents, whom she has never known and whom she never never sought to find until this day. Return to Seoul is a misleading title. It is less about a return to the native land than the discovery of an unknown country. An abyss more than a land in which a family history is rooted. Born in France to Cambodian parents, Davy Chou depicts here belonging to a double culture that goes against the usual clichés. ES

Forbidden to dogs and Italians – You can see

Animated film by Alain Ughetto, 1h10

Alain Ughetto retraces the story of his grandfather Luigi, a nomadic worker like so many other Italians at the beginning of the 20th century.e century, moving from one construction site to another in France. He does it in “stop motion” and with great inventiveness. Sugar dams and coal rocks serve as the backdrop for this miniature saga. ES

Ashkal, the Tunis survey – You can see

Detective film by Youssef Chebbi, 1 h 32

In Tunis, two cops investigate the discovery of a series of charred corpses in a neighborhood under construction. Crooked policemen and promoters are at the heart of the story, a metaphor for a country plagued by corruption more than ten years after the Arab Spring. ES

Pattie and the Wrath of Poseidon– You can see

Animated film by David Alaux, 1h35

Diving in ancient Greece. Pattie is a young mouse in search of adventure. She dreams of one day imitating the gesture of Jason and his Argonauts, the heroes who brought back the fabulous Golden Fleece from Colchis. However, the years have passed since these exploits. Also, when Poseidon threatens to overwhelm his city, Pattie slips onto a cacochyme Jason’s ship and sets off on her own odyssey. The expedition has spirit. Here, a gull makes his old sea bass, Robert Shaw way in Jaws ; there, a bunch of ninja mice are worth all the penguins of Madagascar. The journey almost surfs on the flowerbeds of a film dreamworks. Everything is in this almost. The monsters look like they came straight out of a mobile game. The rest runs aground a little quickly on dry land. Fun, without touching Olympus. CS

entertainment– To avoid

Biopic of Marie-Castille Mention-Schaar, 1h50

At Racine, we don’t just like tragedy. The high school with arranged hours on rue du Rocher, supposed to welcome the cream of classical music in short pants, also cultivates cow humor. This is what Zahia and her twin sister, Fettouma, will discover, landing directly from their city of nine-three in the terminal class of this establishment listed in the 8th arrondissement of Paris. Faced with ridicule and humiliation, Zahia and Fettouma unite. One evening, in their room strewn with sheet music, they have an idea that will change everything. Create their own orchestra. By bringing to the screen the true story of this extraordinary orchestra, created in 1998 in Seine-Saint-Denis and which remains one of the most audacious and improbable artistic and human adventures of recent decades, the director Marie-Castille Mention-Schaar could have signed the great “feel-good movie” on classical music that is missing to this day. Instead, she delivers a binary story in minor mode, focusing on the fight of the two young women in high school – which occupies almost half of the film without us knowing where she wants to take us: neither on the side of comedy nor that of melodrama. We come out with some beautiful images (these nocturnal views of Seine-Saint-Denis which come back as a leitmotif). But also and above all an immense feeling of frustration. TH

Win or die – To avoid

Historical drama by Vincent Mottez and Paul Mignot, 1h55

The amusement park Puy du Fou makes his cinema. For its first production, the company Puy du Fou Films has chosen to tell the poignant fate of the knight François Athanase Charette, counter-revolutionary military leader and hero of the Vendée resistance. We leave the flower with the rifle. Very quickly, we become disillusioned. If the epic of Charette (embodied by a Hugo Becker who does what he can) deserves to be traced, it is not so. Sprinkled with a historical caution provided at the start of the film, the plot unfolds quickly like a series of battles interspersed with harangues… It’s violent, bloody, noisy, aggressive. We sigh at the mere idea of ​​a film that a Philip de Broca. OD

Neneh Superstar– To avoid

Drama by Ramzi Ben Sliman, 1h35

The little girl is of African origin and passionate about dancing. At 12, she was admitted to the Opera School of Dance. The director is against, but the boss of the Opera imposes the evolution of recruitment. Neneh gets sacked and remains, like his family, dignified in the storm. A film marred by the stupidity of the clichés it conveys. Damage. Because, in the title role, Oumy Bruni Garrel pops the screen. AB

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