Licorice Pizza, Twist in Bamako, Black Market … Films to see or avoid this week

A delightful love story from the 1970s, the revolutionary fever of Mali in 1962, a neighborhood teenager gifted for lyrical singing. What to see this week? Discover the cinema selection of Figaro.

Licorice Pizza – To have

Drama by Paul Thomas Anderson, 2:13

He is 15 years old. He does more. She’s 22. She looks less. Gary meets Alana during a class photo. She assists the professional. The teenager will never let go. He runs after her, in every sense of the word. In 1973, the boys of the San Fernando Valley wore chunky striped t-shirts and sported a Beach Boys-style bowl cut. This redhead has it under his feet. Having been a child actor allows him to be daring. He invites the brunette in a miniskirt to the restaurant, has a hell of a nerve, asks her to accompany him to a show in New York. At home, curiosity wins. They will take two hours and a few to fall into each other’s arms. This is the correct average. Licorice Pizza has the ardor and innocence of a first film. Paul Thomas Anderson had not accustomed us to this candor, this optimism. The pleasure is constant, magical, the happiness communicative. IN.

My brothers and me – You can see

Drama by Yohan Manca, 1h48

The youngest of four boys, Nour (admirably interpreted by Maël Rouin Berrandou) is preparing to spend the summer with a brush in his hand. Planted on his low wall, the teenager repaints the decrepit corridors of his college in white, under the leadership of a town hall employee who runs the establishment’s TIG (community service) with an iron fist. He hears a tune sung by Pavarotti escaping from a class, Una furtiva lagrima , taken from the opera by Gaetano Donizetti The Elixir of Love, it is the one who once allowed his father, according to family legend, to seduce his mother. Since then, Nour has spent his evenings playing this opera to his mother, bedridden by terminal cancer. Featured in section In some perspectiveat the last Cannes Film Festival, this first film by Yohan Manca, bright and optimistic, tells without effusion the daily life of a modest family in a working-class district in the south of France. With his cinema without frills, fast, rough, mounted with a billhook, Yohan Manca finds the right note. OD

Black market – You can see

Thriller by Abbas Amini, 1h42

Black marketopens with crossfades on butcher’s fangs and meat carcasses. In this still life à la Soutine, three corpses litter the floor of a cold room. Abed, the slaughterhouse keeper, takes his son Amir on board for ” to clean The scene, under the uncompassionate gaze of his boss, Motevalli.
Amir, just expelled from France after breaking the arm of a policeman, asks few questions and helps his father bury the bodies behind his house. Motevalli takes him under his wing, makes him his driver and his factotum. The slaughterhouse is a cover. Motevalli’s real business is currency trafficking. A quick and risky way to get rich. Amir goes to look for greenbacks in Iraq. The most exciting cinema of the moment arrives from Tehran. Behind Jafar Panahi, Mohammad Rasoulof and Asghar Farhadi, grows a new generation of filmmakers who adhere to film noir, an ideal genre for revealing the hypocrisies and turpitudes of a society. S.S.

Twist in Bamako – Strictly

Historical film by Robert Guédiguian, 2:09

The director of Marius and Jeannetteevokes the revolutionary and dancing fever which seized Mali in 1962. Samba (Stéphane Bak), son of a wealthy trader from Bamako, has the revolution pinned to the body. He travels the country led by Modibo Keïta, pan-Africanist and Third Worldist president, to explain to peasants and villagers the virtues of socialism and cooperatives. This does not prevent him from falling in love with Lara, a young girl forcibly married to a bittern. In the evening, the young man trades his fatigues for a suit, a white shirt and a black tie. But the revolution stalls, the village chiefs balk at building a new society, the new family code is postponed indefinitely. Guédiguian does not continue to film a disappointing tomorrow, past the swaying hips. The party is over. It is still necessary to stage it. The twist requires flexibility and the didactic stiffness of Guédiguian,“Communist intellectual” claimed, does not help the enjoyment of bodies. S.S.

Waiting for Bojangles– The nanar of the week

Dramatic comedy by Régis Roinsard, 2:05

Her name is Camille. He calls her Antoinette, pretends to be a descendant of Dracula, or an heir from Detroit, or even an Italian. She dances a kind of flamenco in slow motion and throws herself fully dressed in the Mediterranean. They set off together in a convertible and spend the night in a backcountry chapel. They have a son who they baptize Gary because of Cooper. The couple are so original that they never open their mail. Madness, which was gentle, is gaining ground. Lacks the look of a child who was the price of the novel signed Olivier Bourdeaut. The film skates, runs empty, useless, embarrassing, delighted with itself. Romain Duris is agitated. Grégory Gadebois, as a senator nicknamed “Junk», Draws on his cigar with a look close to despondency. There remains Virginie Efira, who could be the best French actress if she did not strive to waste her talent in such undertakings. IN.


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