1 – With federations
Made by Coppola to fill the financial gap left by the revolutionary Heart stroke, Cotton club (1984) is even more underestimated. Silenced by some as a whim of producer in collapse (Robert Evans), by others as a winding attempt to reiterate the historic success of the Godfather, the film is seen again with immense happiness thirty-six years after its oven. The frame, of course, badly smells of high concept : a great mix of stories from the underworld wars in Harlem during the first golden age of jazz, with doppelgangers galore of stars (Chaplin, Cab Calloway) and for vague hero a handsome kid avatar of George Raft, interpreted by a sluggish Richard Gere even in his trumpet solos. But the little Coppolian music, cacophony of punchlines improbable against a background of brass carpets, works all the better if the filmmaker doesn’t care a bit about his story, focusing on the reenactments of the numbers and on the moments of savagery, so cinegenic: who has never seen the face of Diane Lane smeared with a stream of blood fallen from a crystal chandelier misses a great moment from the Coppola lose mid 80’s, just before it breaks down with Peggy Sue got married.
Cotton club of Francis Ford Coppola, streaming on OCS
2 – With biscottos
How did we go from the exceptional “Hercules de foires” to the ubiquity of bodybuilded figures? Why this desire to produce muscles that only serve to show off? The impressive web series produced by Jérôme Momcilovic and Camille Juza analyzes all the sources of contemporary production of these new bodies, which has its roots in social Darwinism at the end of the 19th century.e century and found itself comforted by the neoliberal imperatives of the “win”. In ten episodes of about five minutes, and thanks to the intervention, in particular, of the anthropologist Jean-Jacques Courtine or the historian Johann Chapoutot, All muscular returns to the ideals of performance and individualism that fostered the rise of these “mirror athletes”, also analyzing the role played by Hollywood, and in particular blockbusters, themselves the bodybuilding products par excellence. Without voiceover, without judgment, the series will let everyone draw their own conclusions about the phenomenon (even if it will send some, including us, mold directly on the sofa unproductively).
All muscular, miniseries on Arte.tv
3 – With high school girls
They are minor, cruel, morbid, spiritual. They sing hymns to suicide and shit flies, silently shoot the organic industry and the mainstays of society, laugh at themselves with wonderful joy. “Hidden punks”. Two are sisters (Clara and Leonor Pernas), the third is their friend (Adèle Duhoo), they accompany each other on the guitar and are more daring, in the summary songs of their first album, than a number of punks from the underground. Get to know Paris Banlieue, the latest discovery of the fanzine Hanged tongue and Sylvain Quément, a specialist in juvenile pop, who helped them register. Because sometimes, often, a song without filters is better than a block of convoluted poetry: “Before swallowing her last breath, she ate a cookie. I bet she didn’t have time to digest it, because when we die, our whole body stops working. What happened to the cookie? “
Paris Suburbs Gueuseries, available in cassette via languependue.com and on all streaming platforms
4 – With a guardian angel
Photo Claire Nicol
Tired of mechanically directing our gaze to the variations filmed on the confinement, would we allow ourselves to think of the great release of bridles? This film treat is one: a story of imposture (obviously, it is a comedy), where it is a question of a false hero ripou, a guilty puppet and multiple fires of highly flammable hoses in favor from which a policewoman (Adèle Haenel, whose burlesque potential has so far been overlooked) becomes the guardian angel of a depressive crime junkie with pyromaniac moods (Pio Marmaï). It seems obvious, after the fact, that the farce of French action was sorely lacking in a robbery scene in SM overalls: thank you for your dedication.
Freely of Pierre Salvadori, on Canal + and VoD
5 – With gods
Photo Klara Beck
For souls in love with the Baroque, this production of the Calisto by Francesco Cavalli at the Opéra national du Rhin in 2017 is worth a (re) viewing. In the pit, the chef and harpsichordist Christophe Rousset heats with his lyrical Talens a fiery continuous bass with delicate carvings. On stage, Mariame Clément tracks down the intentions of the adapted booklet of Metamorphoses Ovid: Jupiter disguised as a woman to seduce Calisto is not sung by a bass transforming his voice but by a mezzo. Their union in full genre sets the tone for this serious and loving production in which the Russian soprano Elena Tsallagova shines.
La Calisto of Francesco Cavalli, by the Opéra national du Rhin on www.youtube.com