Entertainment

Moonlight, Malcolm and Marie, Only the Beasts … Online movies to see, or not, this week


During this health crisis and the closing of cinemas, the editorial staff of Figaro offers you every Wednesday a selection of new products available on streaming platforms or VOD.

A must see

Moonlight, minority report

Awarded three times (notably in the category “best film») At the Oscar 2017, Moonlight tells the life of a young black homosexual in a notorious district of Miami. A portrait in three stages which corresponds to three ages of life: child, adolescent and adult. Three sharp ellipses. Three formidable actors who give a face to a suffering that does not speak its name. Writing that Chiron is homosexual does not mean anything since Moonlight shows with an infinite delicacy a sexual identity killed, bullied, repressed under the muscles and the virile codes of masculinity. Barry Jenkins knows what he’s filming; the black filmmaker was born and raised in Liberty. But he’s not homosexual. He hesitated for a while to adapt Tarell’s play Alvin McCraney from Moonlight. “Some stories deserve to be told in the first person, he admits. Chiron and I had the same childhood. Same neighborhood, same mother addicted to crack and cocaine. But I am straight. I could identify with him perfectly, except to hold the hand of another man in the street and endure looks of hatred for it. Can I truly understand this character if I can’t really experience how he feels? This story was written by another and I had to get to know this person. I’m talking about Tarell Alvin McCraney, who is like a brother to me today. If I can keep his voice, then maybe I am the right person to tell this story.

Available on Amazon Prime

To have

Malcolm & Marie, confined confrontation

Malcolm is a director. Marie is a former model trying to break into Hollywood. They return from the premiere of his film with a standing ovation. In the euphoria of the moment, he did not thank her while his story is partly inspired by her life and her addictions. In the camera of their oppressive and sumptuous glass house, the couple settle their accounts on love and cinema. Critics, passion, codependency are expensive. The dialogues with devastating emotional uppercut are coupled with an anger that rises crescendo before descending in an ebb and flow of bluffing intensity. Born of boredom, anguish, constraints generated by the first confinement, Malcolm and Marie was imagined in six days by Sam Levinson. The screenwriter ofEuphoria, HBO’s shock series on adolescent discomfort, gives its star Zendaya a score of animal rage. The actress does much more than her 24 years old and deploys a stunning assurance in this battle of ego, sublimated by black and white and hypnotic mirror games. Escaped from Tenet, John David Washington takes on the unflattering role of the self-centered lover with touching sincerity. If the coronavirus brought the film industry to the ground, it also gave it a small masterpiece that is likely to be talked about at the Oscars.

Available on Netflix from February 5th

David Copperfield’s personal story , a daring choice

British director Armando Iannucci has chosen burlesque baroque to render the Dickensian autobiographical masterpiece. Little David Copperfield, posthumous child – the father died six months earlier – abandoned from institutions and bruised by the death of his mother, becomes a clumsy writer with a haggard air, like a young bird fallen from the nest. Iannuci paints an imposing gallery of colorful character portraits, in perfect harmony with Dickens’ style. He adds a funny touch that a neophyte would struggle to perceive in the original work. In the end, it is an edifying transposition that the director of Death of Stalin authorizes itself, offbeat and yet so faithful to the original story.

Available on Amazon Prime

You can see

Only the beasts , a thriller between two continents

It is a splendid and wild region. Even more so when winter puts its crystalline light on the snow-capped Causses plateau. Desert. Silence. We are not surprised that Joseph (Damien Bonnard) seems a little left, alone in his farm at the end of the world. Alice (Laure Calamy), social worker, must be one of the few people to climb to her lair. After her visit, she finds her husband, Michel (Denis Ménochet), a poorly hired and silent breeder, immersed in his accounts. Heavy routine interrupted some time later by Cédric (Bastien Bouillon), a young village policeman. A woman has disappeared. Evelyne Ducat, a middle-class woman, wife of a local notable. They have a luxurious house, away from it all. They are known, but from afar. Évelyne Ducat (Valeria Bruni Tedeschi) will be entitled to her chapter in flashback, like all the characters in Only the beasts by Dominik Moll. We follow them in turn in the moments leading up to the drama. Everyone becomes the protagonist of an intimate story of which the others only see the facade. And each story is a piece of the puzzle, irregular but which fits exactly into the whole, revealing a new aspect of the puzzle. From a novel by Colin Niel, Only the beasts keeps the fragmented construction, which advances the story by shifting points of view. Such inexplicable detail in a story, a cry, a car that starts off with a bang, lights up when you see the back of the scene in another story. Clever and fun process, deceptively complicated. The spectator has the impression of participating in the establishment and the resolution of the plot, without it costing him much fatigue: the satisfaction comes from the logic, very readable and very effective.

Available on MyCanal from February 6

The best, red ball satire

The trailer for The best , Kim Chapiron’s third feature film, augured for the worst. The very “sex, drug and rock’n’rollAre linked to a background of very rhythmic music around a thread too big to be true: the creation of a prostitution network on the campus of a very large business school, HEC not to name it, by the students themselves. It seemed easy as a campus movie French-style, commercial and hollow. Except that the film is a jubilant pigeon shooting, almost as effective, but so much funnier, than the study of Yves-Marie Abraham, in the very serious French journal of sociology, titled From academic concerns to managerial seriousness, or how to become a HEC . We think we’re seeing a trashy movie about a little-known universe. It is a satire that says a lot about contemporary disarray, that of a youth and an elite condemned by its emptiness. This is one of the suggestions of this campus movie which is not innocent: The best sets the trap – set by whom? Maintained why? – to believe one day “come“. The students let their guard down, learn nothing more, there is nothing left but to profit. What to take. Cynicism has won, unless… the question arises of what we really learn in these schools.

Available on Netflix

Palmer, a modest drama by Fisher Stevens

A promising football player, Palmer seemed to have his life ahead of him with a place on the college team. But a slip takes him to prison where he will spend a decade behind bars. On his return to his hometown of Louisiana, he was greeted by his grandmother, with unfailing loyalty and requirement. To this adored grandson in search of redemption, she lets nothing pass. At home, Palmer meets Sam, a little boy neglected by his family and made fun of by his friends because he likes to put on make-up and play with dolls. Palmer doesn’t understand or approve of the schoolboy but is going to have to take charge of it, forcing him to face his own traumas and examine his view of masculinity. On a plot that could quickly have become a teardropper, Justin Timberlake, whose comeback as an actor, plays the metamorphosis of this resigned man, aware that he will pay for his imprisonment all his life, without tremolo. with the greatest modesty. Like a film that wants to be delicate.

Available on Apple TV +

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