Entertainment

Ouistreham, Scream 5, Adieu Monsieur Haffmann … The films to see or avoid this week


The film freely inspired by the investigation of the journalist Florence Aubenas, the part too many of the horrific saga, the dangerous pact of a Jewish jeweler under the Occupation. What to see this week? Discover the cinema selection of Figaro.

The German Lesson – MUST SEE

Historical drama by Christian Schwochow, 2:05

The shrill sound of a siren tears the silence of a reformatory for young delinquents. Prisoners dressed in white are taken to an amphitheater to work on a writing: “The joys of duty”. All of them are working. Only a boy looks up, petrified. The title of the essay awakened a deep trauma in him. In 1943, Siggi was 10 years old when his father, a police officer, got on his bike with him. The zealous brigadier braves the storm to deliver a letter to his childhood friend, the painter Max Nansen (wonderfully played by Tobias Moretti). The Third Reich definitively prohibits the exercise of painting to this artist whose art is qualified as “degenerate”. Torn between submission to paternal authority and his affection for a free artist, the young Siggi loses himself in abysses of reflection and suffering. Beautifully filmed, this adaptation of the world bestseller by Siegfried Lenz The German Lesson published in 1968, constitutes a resounding indictment against blind obedience. OD

Jane by Charlotte – TO HAVE

Documentary by Charlotte Gainsbourg, 1h30

Since the death of Serge Gainsbourg in 1991, Charlotte Gainsbourg has largely built herself as his daughter. These thirty years of mourning are sanctioned today by the upcoming opening of the Maison Gainsbourg in Paris, which will allow many admirers of the genius of French song to discover its lair in the rue de Verneuil. While awaiting the public opening of the museum, scheduled for later this year, Charlotte took her mother there. Jane Birkin had not set foot in the house she had occupied for a dozen years for three decades. The sequence is one of the most striking of the portrait that the actress and singer dedicates to her mother. Touching in her vulnerability and very dignified in her skin as a paradoxical mother, Jane Birkin illuminates each shot of the documentary. WE

Ouistreham – YOU CAN SEE

Drama by Emmanuel Carrère, 1h46

It is not Emmanuel Carrère who would blame Florence Aubenas for having slipped into lives other than his own. Here she is renamed Marianne Winckler. She points to the Pôle emploi de Calais, claims to have been left by her garage mechanic husband in Châteauroux. We call it immersion journalism. Here she is, ready to take any job. No prank, the heroine, whom no one recognizes despite her past successes, puts on her rubber gloves and acrylic blouse, lugs her bucket and washing products. Juliette Binoche’s gaze translates by moments of a hint of worry, a beginning of panic. She is playing a double game with her friends. She will never be like them. Guilt is gnawing at his blood. This is also the story of a lie. She had no interest in getting caught. Carrère adapts someone else’s book. The exercise succeeds him. It is full of resonances, filled with these lights that shine on the water, both magical and disturbing. É. NOT.

Farewell Mr. Haffmann – YOU CAN SEE

Historical drama by Fred Cavayé, 1h56

It all began in May 1941 in Paris on the heights of the Montmartre district. The small bell in the store of the jeweler Joseph Haffmann (Daniel Auteuil, all in stripping and dignity) sounds like a disastrous warning. The man comes out of his stall and notices that a poster has recently been put up on the subject of the “census of the Jews” who must now “report to the authorities in application of the law”. She urgently needs to bring her family to safety. The jeweler imagined a solution. He will sell the jewelry to his employee, François Mercier. He will join his family later. At the end of the war, he will resume his business and help his assistant to set up his. Fred Cavayé signs a historical drama full of nuances, carried by three excellent actors. He focuses on the essential and films with meticulousness a gradual descent into hell. OD

Placed – WE CAN SEE

Dramatic comedy by Nessim Chikhaoui, 1h51

Because he forgot his identity card, the young Elias misses his entrance examination to Science-Po. A friend, who works as an educator in a home for foster children, takes him in his wake, the time he can take his exam again. The young man (convincing Shaïn Boumedine) gets caught up in the game and gets involved in what should only be an observation course. No blissful optimism in this social film, but a little music from experience which seduces with its endearing sincerity. OD

Scream 5 – TO AVOID

Horror by Matt Bettinelli-Olpin and Tyler Gillett, 1h55

Released in 1996, Scream, a mixture of mise en abyme and dark humor, amuses and terrifies cinemas around the world. Three sequels are shot, as well as parodies. In 2022, Wes Craven is no longer of this world, but a duo of anonymous directors, Matt Bettinelli-Olpin and Tyler Gillett, revive the characters created by Kevin Williamson. The Californian town of Woodsboro still serves as the backdrop to the plot. A new gang of young people will serve as an outlet for a disguised killer as in the original. But the writers will make reappear the main old characters: the young student Sidney Prescott, the sheriff Dewey Riley, the TV reporter Gale Weather. They got old. This Scream no longer surprises and continues to illustrate a paradox. The one from the movie for fans which features toxic fans. É. S.

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