Incredible but true, The Way to Happiness, The Prince… Films to see or avoid this week

An absurd comedy by Dupieux, a historical romance or Passi’s first role in the cinema… What should we see this week? Discover the cinema selection of Figaro.

Incredible but true – Have

Comedy by Quentin Dupieux, 1h14.

Alain (Alain Chabat) and Marie (Léa Drucker) are very happy. At 50 and something, they are finally owners. The peculiarity of their pavilion burns their lips. In the basement there is a hatch. It hides a tunnel. If you take it, you suddenly find yourself outside twelve hours early and three days younger. Quiet. It will take a dinner with a couple of friends who also have something au gratin to announce to them for them to break the silence. With Incredible but true, Quentin Dupieux is not afraid of the absurd. It is an area he masters. He knows how far to go too far. At home, the strange – a giant fly in the trunk of a Mercedes, a forties literally crazy about his fringed jacket – belongs to everyday life. The director has the art of stretching the scenes, maintaining the suspense thanks to hilarious dialogues and actors who obviously can’t believe they are having so much fun. We see in this the vast misery of the time, the frustration that reigns in the most united couples, the ambiguous relationships at work. Obviously, the machine breaks down. Otherwise, it wouldn’t be funny. IN

Loving Highsmith – Have

Documentary by Eva Vitija, 1 h 24.

Her first novel, The Stranger of the Nord-Express, brought to the screen by Hitchcock, made Patricia Highsmith the queen of the detective story. His second book, carolpublished under the pseudonym of Claire Morgan and adapted by Todd Haynes sixty years later, is the “must read for any good lesbian”. Rich in archives and testimonials, Eva Vitija’s documentary retraces the life and work of the author of Ripley through the prism of his homosexuality. A double identity at the origin of his vocation. “Writing is a substitute for the life that I cannot live, and am unable to live,” records Highsmith in his diary. E. S.

The prince – You can see

Drama by Lisa Biewirth, 2:05.

With The prince, by German Lisa Bierwirth, rapper Passi finds his first real role. He lends his charisma to this prince of Frankfurt, Joseph, a handsome Congolese man without papers. Monika (Ursula Strauss), gallery owner, past forties, childless, in love with him. A police raid seals the meeting between the African and the European. It is done behind a trash can, in the backyard of an African diaspora bar where Monika goes to buy cigarettes. Lisa Bierwirth draws on the story of her mother and her husband, originally from Kinshasa, Congo. It is also inspired by all the melodramas in the history of cinema. The prince is his first feature film. E. S.

Sweatshirt – You can see

Dramatic comedy by Magnus von Horn, 1h46.

Magnus von Horn films Sylwia Zaja (embodied with conviction by Magdalena Kolesnik), a self-centered Swede when she sinks into fitness and networks to drown her emotional desert. She runs, she runs on carpets, lifts iron, sculpts her body, but remains desperately alone. She plays with her own sensuality. But all desire remains virtual. Her video release where she complains, with hot tears, of not having chosen this life, wishing so much to have someone close to her, attracts a fauna of cranks or poor guys, who are waiting for her at the foot of her building while masturbating in their car. More miserable than touching. Nervous portrait of a modern YouTuber, Magnus von Horn’s film is tough, without the slightest concession. It exudes ultra-modern solitude. The very one that Souchon sang, a few years ago already… OD

The Way to Happiness – You can see

Dramatic comedy by Nicolas Steil, 1 h 55.

Luxembourgish producer and director, Nicolas Steil signs with The Way to Happiness a nostalgic film, set in Brussels, in 1987. Owner of the bar The New Manhatan, the great cinephile Simon Abkarian finances a young budding filmmaker. Joachim tells the story of his mentor, that of a little Jew hidden in Brussels during the war. The images of the dream film mingle with the main plot, a love story à la Jacques Demy whose heroine is played by Pascale Arbillot. A little naive and too classic, this historical romance, reminiscent of Jean-Charles Tachella’s Traveling Forward (1987) is still seen with a guilty pleasure. OD


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