Aïda’s Voice, Stillwater, Everything went well… The films to see or avoid this week at the cinema

An interpreter tries to save her family, an American arrives in Marseille, a girl helps her father die. Discover the cinema selection of Figaro.

To have

The Voice of Aida , a historical drama by Jasmila Žbanić, 1h44

It’s a matter of hours. In July 1995, the Serbian army invaded the town of Srebrenica. Refugees crowd into a UN camp. The place is already crowded. A huge crowd gathered in front of the gates. Aïda, who is an English teacher, was hired by the peacekeepers to act as an interpreter. It is not an easy task. Amidst the chaos, this Bosnian citizen tries to keep her calm. Everyone needs her. Everyone has something to ask for. His situation is not simple. It is further complicated by the fact that her school principal husband and her children are there too. She is agitated to have their names on the list of those who will not climb on the coaches parked outside. In the distance, the tanks roar, roll through the deserted streets. Panic rises in this former gymnasium with no running water. We don’t even talk about the toilets. Armed with his megaphone, a Dutch officer tries to appease the distraught inhabitants. The speech takes place in fragments. The soldier stops. Aïda translates each sentence. She runs everywhere, with her badge around her neck, her shirt open over her T-shirt. The camera, feverish, follows all his movements. She opens the office doors, kneels to ask for a signature. She knows the worst is here. The Serbs are approaching. É. NOT.

Everything went well , a dramatic comedy by François Ozon, 1h52

Sophie Marceau is seized in the corner of a door, sitting at her desk, in front of her computer. You can feel her focused. As soon as his cell phone rings, everything speeds up: ” Where are you ? I am coming… ” Sometimes life turns on a simple call. In a rush, she goes down the stairs, but the steps are blurry. She goes to the emergency room where her father André Bernheim has just had a stroke. In a few precise, controlled shots, François Ozon captures his audience. Far from some of his previous films (Eight women, Swimming pool, Ricky…) Where a kitsch aesthetic is readily adorned with a Hitchcockian staging, the director here obliges himself to serve Emmanuel Bernheim’s book. Without affèterie. Ozon pays attention to details. The director ofA summer 85 is based on the sobriety of the dialogues. He stages with simplicity a chronicle, that of the programmed death of André Bernheim. OD

Stillwater , a thriller by Tom MacCarthy, 2h20

Cheap. How do you say it in English ? Matt Damon does not ask the question. This American disembarking in Marseilles does not even try to take the southern accent. He has come to support his daughter who has been in prison for five years, accused of murdering her girlfriend. At Les Baumettes, she cries out her innocence. Bill is not of infinite help to him. He does not speak a word of French, barely knows Allison whom he did not take care of enough, immersed as he was in his alcohol problems. This widower was an oil driller in Oklahoma. It is an understatement to say that it does not roll on gold. This trip suddenly imposed itself. All his savings are spent there. The Old Port seemed to him a strange, indecipherable land. He would have to find a certain Akim who was there the night of the murder. This redneck first moved to the hotel before moving in with Camille Cottin (irreproachable as a theatrical artist from La Canebière) who has an 8-year-old child and assists her with the translation. IN.

The Summit of the Gods, animated film by Partick Imbert, 1h30

Two men roped up, ice ax in hand, lost in the snowy immensity of a mountain range, hardly advance. The image immediately strikes the retina with its purity. The Summit of the Gods Is not far. The soaring music that accompanies the first images of this very sensory animated film envelops the viewer in a mysterious sheet. The silhouettes of mountaineers decked out in glacier goggles, oxygen masks and oxygen canisters progress in the wind and cold. One feels traversed by an icy shiver. An animated sequence will have been enough to find oneself immersed in the heart of the matter. Director Patrick Imbert, who has trained in animation since Corto Maltese from Pascal Morelli in 2002 until Ernest and Celestine Where The Big Bad Fox, in 2017, knows that he is attacking a peak of high-end manga: The Summit of the Gods by Jirô Taniguchi appeared in France between 2000 and 2003. Adapting the novel by Baku Yumemakura, the author of Distant neighborhood made it into a romantic saga that was a landmark in the history of the world graphic novel. OD

You can see

The Third War , a drama by Giovanni Aloi, 1h30

It all starts with a close-up of an abandoned bag near a trash can at Bercy station. The hubbub of travelers around the object seems reassuring. We then discover the tense face of Leo (Anthony Bajon, very credible), a young recruit with short hair, wearing a beret, his eyes fixed on this “suspicious package”. “Chelou, right? “ his patrol mate Hicham (impeccable Karim Leklou) points out to him. And the bidasse to drive the point home: “Two C4 bars are easy. I have already seen this in Mali! “ In a few lines, the suspense went up a notch. An ordinary abandoned bag becomes a time bomb capable of causing many victims. OD

Via margutta , a drama by Mario Camerini, 1 h 45

This is where Fellini lived. We do not see it in this bittersweet chronicle where budding artists struggle with failure, flirt with Yvonne Furious or Antonella Lualdi (the lucky ones), organize false engagements, run after money, set up a scam in paintings. This portrait of Rome in black and white is valid for its naturalness, its sense of bohemianism and a certain fragility of destinies. The dolce vita had its reverse. Via Margutta is an address not to be missed. Real estate moviegoers are going to tear it up. IN.

Notturno , a documentary by Gianfranco Rosi, 1 h 40

The director, winner of the Golden Bear in Berlin in 2016 for Fuocoammare, tells the misfortunes of current Syria and Iraq by a handful of characters filmed in their daily lives: children who draw Daesh’s abuses, a mother who mourns her son… Their life is displayed in a series of shots fixed, admirably composed, often silent. And always long. The whole is poetic but obscure. It gives the feeling of crossing these bruised and fascinating countries without really stopping there. BP

Without particular sign , a drama by Fernanda Valadez, 1 h 35

Mexican cinema continues to give gloomy news from the country. Here, the filmmaker Fernanda Valadez portrays a mother looking for her son who has gone to join the border and from whom she has no news. She crosses paths with Miguel, deported from the United States, in a territory infested with gangs. The ending, terrible and powerful, gives relief to a minimalist frame. S.S.

Bigger Than Us , a documentary by Flore Vasseur, 1 h 36

The story of seven young people who took up the cause of the planet. The young Melati Wijsen of Indo-Dutch origin leads the dance of this world tour of goodwill. At the age of 10, she mobilized to save the beaches of the island of Bali. She meets six other young people who are equally motivated. If these pugnacious testimonies send a message of hope, the scrolling images are terrifying. Wouldn’t it be too late? OD


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