At war with boredom: barred western, surrealism and variétoc

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1-With opium western

Those who have retained the name of S. Craig Zahler for his remarkable thriller Dragged over the bitumen, released directly on video on demand and in the hollow of last summer, will be delighted to learn that his first feature has landed on Prime Video. Released in 2015, Bone Tomahawk works the western on a horrific mode but films its slow chase between crippled cowboys and troglodyte Indians like a classic, over medium shots that stretch. Slow and very justly dialogued, carried by a cast of reprobates (Matt Fox, Patrick Wilson, David Arquette) and the sheriffs of Sheriff Kurt Russell, the film ignites in its last quarter to transform its pitch to the Prisoner of the desert as a distant cousin of Voracious by Antonia Bird. Hyper sensory bis that leaves a taste of blood and earth mixed in the mouth.

Bone Tomahawk of S. Craig Zahler on Prime Video.

Mas Amable by DJ Python (Incienso). Photo DR

2-With anxiolitics in the ears

It is a beautiful techno record that once is not custom, we do not regret not having to find vinyl. An album that goes straight and does not suffer the interruption, which requires that we let it dilate our time to speak to us. But what does New Yorker Brian Piñeyro, aka DJ Python, have to say to us that is so important that we have to spend an hour of our day diving into it? Precisely that we do anything with the time of which our life is made, and that if we do nothing to remedy it, there is a 100% chance that we will end up regretting it. Dance has this virtue of extending the present to challenge us on everyday life, and DJ Python, who also produces under the name of Deejay Xanax, is a master in this art of fulfillment, with three times nothing most often – a reggaeton pulse, a tablecloth, a rattle passed through a filter. So much so that we welcome Mas Amable (“Kinder”) with open arms in our intimate privacy.

Mas Amable of DJ Python (Incienso)

Massimo Furlan in 1973

Massimo Furlan. Vidygital Photo

3-With the remixed Eurovision 73

We’re talking about a time when variety shows were a big hit. In 1973, for example, Eurovision had united thousands of viewers. Among them, the small Italian Massimo Furlan, so moved by the evening that he undertook, a few decades apart, to perform alone on stage but with a plethora of proto-Claude Nougaro or crypto-France Gall costumes the 17 songs in competition. All in original version, and with the incredible imitation of Pierre Tchernia’s voice live from Radio Télé Luxembourg.

1973 of Massimo Furlan, on the Théâtre Vidy-Lausanne website:

4-With the African che guevara

Pending the reopening of cinemas, this documentary, the first film by the Frenchwoman Lucie Viver, is released in “e-cinema” on the site of the Twenty-Fifth Hour, or “The first virtual cinema” : the broadcasting is done in partnership with about twenty rooms, which decide the schedule and receive a percentage. A way to support Art and Essay in arrears. The film follows the journey of the young poet Bikontine through his country, Burkina Faso, after the movement that deposed President Blaise Compaoré in 2014 after twenty-seven years of reign without reign. Along the line of the national railway, he meets his compatriots and maintains with them the still vivid memory of the great Thomas Sankara, revolutionary and socialist and Pan-Africanist head of state assassinated in 1987 with twelve of his companions during a putsch : the notebook of his journey criss-crosses and strolls in turn the plains of historic melancholy and the places of political hope.

Sankara is not dead of Lucie Viver. Sessions on

Oil on canvas (ca. 1937-38), Leonora Carrington [1917]  , Objektmaß 25 9/16 x 32 in. (65 x 81.3 cm), The Pierre and Maria-Gaetana Matisse Collection, 2002, Inventar-Nr .: 2002.456.1, Artist: Leonora Carrington Das abgebildete Werk ist urheberrechtlich geschützt. Der Nutzer hat vor Veröffentlichung die Genehmigung einzuholen und abzugelten bei: VG Bild-Kunst, 53113 Bonn, Weberstr. 61, FOR USE ONLY IN GERMANY, SWITZERLAND OR AUSTRIA, Copyright: bpk | The Metropolitan Museum of Art

Oil on canvas (1937-38), Leonora Carrington. Photo The Met

5-With artists, not muses

Fantastic women, organized at the Schirn Kunsthalle in Frankfurt, closed in March … but it can be visited again from May 6, the date on which the museum will reopen, and until July because the exhibition has been extended. Bringing together the works of female artists who contributed to surrealism, she endeavors to show the richness and originality of a production not always known outside the famous Fur lunch by Meret Oppenheim. Because Louise Bourgeois, Claude Cahun, Leonora Carrington, Frida Kahlo, Meret Oppenheim and – among others – Dorothea Tanning have shaken up the frozen roles of muse that we wanted to attribute to them. From those who exposed with André Breton to those who made surrealism a theoretical basis, women have had a greater influence and openness than posterity wants to tell. You can visit the exhibition online and watch Arte’s documentary, where the curator looks back on four incredible figures: Claude Cahun, Leonor Fini, Leonora Carrington and Lee Miller.

Fantastic women expo on; documentary on

Clementine Mercier


Marius Chapuis


Eve Beauvallet


Olivier Lamm


Luc Chessel

Mas Amable of DJ Python (Incienso)

1973 of Massimo Furlan, on the Théâtre Vidy-Lausanne website:

Sankara is not dead of Lucie Viver. Sessions on

Fantastic women

expo on; documentary on



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