House of Gucci, At dusk, Suprêmes… Movies to watch or avoid this week

A news item on glossy paper, a drama of chilling communism and the fiery debut of NTM… Discover the cinema selection of Figaro.

To have

House of Gucci , a biopic by Ridley Scott, 2h37

To opera arias and disco hits, Ridley Scott unrolls a family’s romance, paints a luxurious fresco, observes under a microscope the marriage of capitalism and beauty. Business has its laws. It ends in an assassination. Gucci red will be that of blood. The director transforms a news item into a dark tragedy, a ballet of hatred and jealousy. The uncle (brilliant Al Pacino, rogue like that is not allowed) tampering with his tax returns. The cousin (Jared Leto, unrecognizable) takes himself for an artist, despite an obvious lack of talent. There will be trifles, foreign capital. The abandoned wife will rub shoulders with a clairvoyant. We follow this saga as we would leaf through old issues of Vogue hemoglobin stained. Wealth bursts with every shot. (…) Lady Gaga plays the lost damsel of greed with communicative jubilation. She has a flair. After a while, she annoys the excellent Adam Driver, in a bow tie or turtleneck, who will soon see elsewhere (in this case, Camille Cottin, about to overtake Léa Seydoux and Marion Cotillard in Hollywood). He lifts his long, gangly figure with Fitzgeraldian grace, climbs into a Lamborghini as he would don a pair of designer moccasins. (…) There is something icy, poisonous about the film. We are between The Damned, Shakespeare and Succession. É. NOT.

At dusk , a historical drama by Sharunas Bartas, 2:08

In the heart of a Lithuania occupied by the Red Army at the end of the Second World War, in 1948, General Winter leans with all his silent power the lid of economic, political and military repression. (…) The harshness of the climate is matched only by the beauty of Bartas’ images. A few kilometers away, on the plain, a cunning and lying landowner tries to survive the Communist yoke. Dreaded patriarch, Jurgis Pliauga (Arvydas Dapsys) softly supports the supporters. The one who once adopted the young Unte (Marius Povilas, excellent) sees the grip of his small kingdom tighten when the Soviet army arrives in his opulent building to ask him to cede a few hectares of his land to the other peasants of the village. (…) Barely out of childhood, Unte discovers the horrors of war, the ambiguity of the human soul and the gangrene of secret passions that darken his bruised country. (…) What commands respect in Sharunas Bartas’s cinema is the way he films his Lithuanian land. Bartas is not afraid to take his time. He imposes his poetic flashes at the risk of boredom. Through plays of light, with lanterns, candles or halos of light, he signs a very pictorial film, with a peaceful setting while in its heart a burning intrigue bubbles up. OD

Supreme , a musical biopic by Audrey Estrougo, 1h52

Supreme focuses on one of the most beautiful success stories of the genre: the one that saw JoeyStarr and Kool Shen leave Saint-Denis to conquer the whole of France within NTM. The energy and enthusiasm of the film is infectious. The era is sketched with greed by the director, Audrey Estrougo. The film focuses on NTM’s early years. A true epic, rich in colorful personalities. (…) Far from being a strict review of the events of the time, the film takes liberties with the chronology, sprinkling anecdotes spread over the course of the group’s career. The live stages are by far the most successful, perfectly reflecting the electricity of NTM, a large stage group. The amateurism of the two leaders is touching, like the patience of those around them. The two actors who play Kool Shen and JoeyStarr are very convincing. If the film only addresses the question of the reunion of the latter with his mother, the personality of the guy emerges in each shot. An ultimately sensitive evocation of a period that belongs to history. WE

The event , a drama by Audrey Diwan, 1h40

Audrey Diwan, journalist, novelist, co-writer in particular of the films of Cédric Jimenez, including the virile North Bac, got behind the camera in 2019 with but you are crazy. The event is the autobiographical account of a clandestine abortion in 1963. Audrey Diwan takes some liberties with the text which do not change much. Anne is no longer a literature student in Rouen but in Angoulême. She is an intern and returns at the weekends to her parents. Her mother (Sandrine Bonnaire) sometimes gives her a ticket to buy herself a novel. At that time, in France, the poems of Aragon were studied in amphitheatres. More seriously, contraception does not exist. Marriage or abstinence. “I am the best dating virgin on the planet”, said a classmate of Anne, frustrated at not being able to put the theory into practice. Audrey Diwan talks about cinema “Immersive”, marketing argument in tune with the times. His film is thinner than that. It prevents one from looking away and that is enough to experience a little the fear and distress of a young girl from the 1960s. This consistency between substance and form, relevant if not of a crazy daring, was enough for the event to win the golden lion at the Mostra with the beard of a Jane Campion (The Power of the Dog) or a Paolo Sorrentino (God’s hand). É. S.

Encanto: The fantastic Madrigal family , an animated film by Jared Bush and Byron Howard, 1h43

Christmas Disney breaks with tradition. Exit the charming princesses and princes, this year, children are entitled to a film about an enchanted house inhabited by a family of magicians, in the heart of a reinvented Colombia. In this wonderful place called Encanto, each of the children has been endowed with a magical faculty… except Mirabel. This frenzied musical, which once again draws its inspiration from South American legends (such as Coco, four years ago) and whose tunes remain in their minds after the session, brings joy to young and old. In these troubled times, one hour and 43 minutes of family escape cannot be refused. OD

You can see

In his lifetime , a drama by Emmanuelle Bercot, 2h02

Actor, he says when asked about his profession. Failed, he says lucidly. The role being played by Benoît Magimel, one of our best actors, the paradox is obvious. So Benjamin is a theater teacher. It won’t be long. (…) There is always something in Emmanuelle Bercot’s films. However, they are not completely satisfactory. Why show Deneuve lifting his son in his arms like a feather? What an idea to suddenly make Cécile de France appear in a halo of light, like a PA angel! Of course, the patient is entitled to a treat which we do not know if it will be reimbursed by Social Security. We could also have avoided the scene where the son disembarking from the Antipodes does not dare to open the door to the room where the dying man lies. All this quite didactic, full of good will, seeking emotion. É. NOT.


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