Entertainment

La Ruche, Official Competition, Elizabeth… Films to see or avoid this week


A twilight eulogy of feminine resilience, a fierce satire on the world of cinema or even a documentary tribute to the British queen… What should we see this week? Discover the cinema selection of Figaro.

Official competition – Have

Comedy by Mariano Cohn and Gastón Duprat, 1h54

A billionaire who made his fortune in the pharmaceutical industry is in search of prestige. Finance a bridge that would bear his name? Ordinary. Better to produce a film, choose a fashionable director. He bought the rights to a Nobel Prize, offered the services of an intellectual and lesbian filmmaker and already dreams of climbing the stairs at the Cannes Film Festival. The scenario, thick as a directory, resembles the diaries of Peter Beard. With official competition, Gaston Duprat and Mariano Cohn (honorary citizen ) ferociously pinpoint the tics of an environment, expose the claim in its purest state, all to music by Erik Satie. Satire takes aim at the black of the target. Egos come out bruised, broken, like those trophies that the brilliant redhead shoves into a grinder. Penélope Cruz, a veritable tornado of egocentrism, has a field day, sleeps with the tycoon’s daughter, practices ridiculous stretching exercises. Vanity will have the last word. This is crazy good. In a perfect world, the film would be reimbursed by Social Security. IN

variety – Have

Variety is the name of a cinema in New York. A special kind of room in Times Square, like the one where Robert de Niro takes Cybill Shepherd in Taxi Driver . It shows pornographic films, with evocative titles (Sex Roulette, The Devil in the Body). In 1984, the 42e street is not yet an artery for tourists in love with Lion King and others musicals. Long before David Simon’s series, The Deuce Bette Gordon showed in variety, unpublished in France, a disreputable but very cinematic district with its red and green neon signs. It features Christine, a young and pretty blonde from Michigan, hired as a cashier by José (Luis Guzman, future actor of The Impasse by Brian de Palma) in this cinema whose hall resounds with groans. Christine starts following a client, a businessman named Louie. The Hitchcockian blonde reverses the roles here. The voyeurist, that’s her. Without moralism, Bette Gordon diverts the male gaze. In this film about desire and fantasy, Nan Goldin plays a bartender. She was a set photographer and her pictures are exhibited in Paris in a new gallery, the Paris Cinéma Club. ES

The Beehive – You can see

Drama by Blerta Basholli, 1h23

Between March 1998 and June 1999, the Kosovo war between Albanian separatists and Serbian forces killed more than 13,000 people. And nearly 3,000 missing. The mountainside village of Krushë was one of the most appalling massacres of the conflict. This martyr locality is the scene of The Beehive, a modest portrait of a widow who defies the patriarchy of her conservative hamlet. Inspired by a true story, the film won three prizes in the international section of the American festival of Sundance. Director Blerta Basholli, trained at New York University, weaves a delicate film, a twilight eulogy of female resilience, like its heroine, played by Yllka Gashi. The story recounts the monotony of a life in suspense, made of waiting through the repetition of kitchen gestures. From this sum of little nothings, compliments and rarefied emotions spring life, hope, the energy to move forward. CJ

Elizabeth, singular gaze(s) – You can see

Documentary by Roger Michell, 1h29

“She is so heavyexplains the queen about her crown, that it is impossible for me to lower my head.” The phrase can be understood figuratively. The whirlwind of imagesElizabeth: Singular gaze(s) recalls, the sovereign has maintained the course of royalty without weakening for seven decades. The English celebrate this anniversary this Thursday, during the platinum jubilee. Roger Michell, who died in September 2021 at the age of 65, pays tribute to him in his own way in this film nourished by a large number of archives. There is no voiceover, excerpts from skilfully edited reports or documentaries are enough. Excerpts from Cleopatra with Liz Taylor or from the series The Crown slip on the screen, rock and or pop resound on images of official ceremonies. The excess is not far away, the homage borders on irreverence. That’s probably how you can tell he’s English. BP

.

Leave a Reply

Your email address will not be published. Required fields are marked *