The choice of "Obs"
♥♥♥ "Burning", by Lee Chang-dong. Polar psychological Korean, with Ah-in Yoo, Steven Yeun, Jong-seo Jun (2h28).
She squirms in front of a shop, in a cheerleader dressed in pink. He passes by there, idler a little lost. Haemi is cute, Jongsu a little pecorate. But here they are: they have known each other, children. A few beers, a night of voluptuousness, and she gives him the keys of her kitten, to feed the cat while she travels. Back from Africa, she has a new lover, Ben, and the guy has a crazy hobby, he flames the plastic claws, he says. Hailer, mythomaniac, or really pervert? Go know … Because Lee Chang-dong's entire film is based on the invisible, the silence, the unsaid. Thus, the cat disappears, but leaves traces. Haemi disappears, but does not leave. Love is growing, but secretly. The greenhouses may be flaming, but no one will witness the fire. And what is going on in the head of this mediocre hero, Jongsu, who lives in a farmhouse in the country? One suspects a damaged soul, a creeping jealousy, an unfulfilled desire – because our man would like to be a writer, while he is condemned to sell the tractors of his deceased father. References to Faulkner, author admired by Jongsu, indicate that the threat is there, rampant, explosive, drue. And there is this sensual and torturing scene: in front of the two men of his life, Haemi undresses and, in the softness of a night, dance, naked, on the genial music of "Elevator for the scaffold". Miles Davis is at the top of his art, and as the sun sets, the promise of flesh evaporates into endless melancholy …
The film is long and slow, know it. It is a nightmare in a minor tone, which concludes with a cruel apocalypse, a murder of which only remains ashes. With rare mastery, the director progresses in small touches, suggests the presence of the devil. Who, as we know, drives in Porsche (in the film). Lee Chang-dong, the director, likes these uncertain atmospheres, these foggy silences, this cottony poetry that emerges from his films. In "Oasis" (2002), he followed a convict rejected by his family. In "Secret Sunshine" (2007), he contemplated the torments of a widow in an unknown village. In "Poetry" (2010), he watched an old woman face the loss of her reason. Each time, the artist depicts suffering beings, with kindness and fascination. In "Burning", he puts flames in a journey at the end of the night, and it burns softly, in beauty.
François Forestier

Outputs
♥♥♥ "Bonhomme", by Marion Vernoux. French drama, with Nicolas Duvauchelle, Ana Girardot, Béatrice Dalle, François Rollin (1h43).
It is a wonderful story of modern love, which challenges reason, understanding and medicine. The couple a little scoundrel that form in a Lille ZAC, Marilyn (Ana Girardot), cashier at Go Sport, and Piotr (Nicolas Duvauchelle), kitchen salesman at But, should never have survived a banal car accident . She, driving, came out unscathed. He, in the place of the dead man, nearly stayed there. Traumatized cranial, invisible disabled, Piotr goes home without knowing who he is, where he comes from, sometimes aphasic and apathetic, sometimes exalted and violent, besides suffering from hypersexuality that makes him hard from morning to night. Marilyn could flee, she chooses instead to sacrifice herself, to help her recover an almost normal existence and even offers, to girlfriends in need, his erectile companion who is, literally, ass over head. Not only does she love him, but she is also convinced that love will be the only instrument of her healing. Duvauchelle is a cerebral palsy as infuriating and upsetting as a different child, Girardot excels in sour compassion, and Marion Vernoux, who had the good idea to marry them, succeeds in the impossible: to make a film of emotion without an ounce of sentimentalism, slip from poetry into triviality and restore, after the storm, the connection between two beings who no longer speak the same language, but are welded forever. With, bonus, Beatrice Dalle as accommodating patron of a beauty institute and François Rollin as a neighborhood doctor. Written sensitively, but filmed cash, this tattooed version of "Repairing the living" is as disturbing as endearing. Cinema at the height of man.
Jerome Garcin

♥♥♥ "22 Miles", by Peter Berg. American thriller, with Mark Wahlberg, Lauren Cohan, John Malkovich (1:35).
In the action movie genre, the top. In charge of conveying a double agent to an Asian megalopolis, Jimmy (Mark Wahlberg) has to cross 22 miles, a road riddled with pitfalls, populated by bastards, filled with Russians and sinister stranglers. It's short, efficient, breathless, with just the right dose of high-tech and mano a mano. Peter Berg ("Blood and tears") does the job with precision: next to Mark Wahlberg, Jason Bourne is a slouch and James Bond a godichon. Bang-badaboum machined to perfection.
François Forestier

♥♥♥ "Guy", by Alex Lutz. French drama, with Alex Lutz, Tom Dingler, Pascale Arbillot (1h41).
This fake documentary is the authentic portrait of a fictional star. Guy Jamet goes back on stage and accepts to be filmed daily by a director, who is in fact his hidden son whose existence he does not know. He introduces his young wife (Pascale Arbillot), goes on tour, finds his ex-wife and song partner (Dani), remembers his career …
This cross between Cloclo, Herbert Léonard and Michel Sardou, Alex Lutz (Catherine of the duo "Catherine and Liliane" on Canal +) did not only know how to feed him of our collective imagination, he incarnates it with his transforming genius, a sense of observation and detail that accommodates prostheses and makeup. In his tired looks and his way of putting back his lock of hair pass the disillusions of a life. The success of "Guy" is there: to make exist this old nerdy singer with a humor tinged with bitterness.
Nicolas Schaller

♥♥♥ "Wild", by Camille Vidal-Naquet. French drama, with Felix Maritaud, Eric Bernard, Philippe Ohrel (1h39).
Leo, 22, gay, drugged, prostitute, sells his body, kisses and likes the wrong guy. The eyes of Camille Vidal-Naquet marry the instinctive jolts of his protagonist, lost dog without collar, between the wood, where he takes refuge and lashes, and the city, where he fails and forgets himself.
Leo is embodied to the ends of dirty nails by Félix Maritaud seen in "120 Beats per minute"), winner of a prize of revelation deserved at the Critics Week of the Cannes Film Festival. In Leo's wanderings, this first film finds its truth, its excitement and savagery, in the Pasolinian sense.
Nicolas Schaller

♥♥ "Queen of a summer", by Joya Thome. German drama, with Lisa Moell, Denny Moritz Sonnenschein (1:07).
Léa, 10, did not go on vacation and kill time walking around her village. She tries to integrate a group of boys who accept her presence as long as she meets a challenge. A story of the end of childhood and loss of recklessness where one wanders silently alongside her solitary heroine to breathe with it the scent of freedom and risk, to feel the prick of the summer sun and listen to the nature that murmur. A delicate fiction that sometimes takes the risk of supporting the line of his naturalist poetry but captures stealthily, in his eyes and gestures, the gentle upheaval inside the girl.
Xavier Leherpeur

♥♥ "He or she", by Anahita Ghazvinizadeh. American drama, with Rhys Fehrenbacher, Koohyar Hosseini (1:20).
After the docus "Become He or She", "Finding Phong" or "Coby", and before the magnificent "Girl" of Lukas Dhont, to discover in October, this first feature film by a young Iranian director living in the United States United is interested in the change of sexual identity. In Chicago, J., a discreet 14-year-old, spends the summer with his sister and his Iranian boyfriend. Under inhibitory treatment to stop his puberty, he is preparing to begin his transition. Despite some dispensable symbolic images (J. hesitating between two doors, the hermaphroditism of the flowers that are his passion), the filmmaker composes around his character a sensory fiction and felted where it is above all a question of the emotional intimacy of childhood, its awakening to the world and its doubts.
Xavier Leherpeur

♥♥♥ "Every moment", by Nicolas Philibert. French documentary (1:45).
Author of famous documentaries such as "Nénette" or "Being and having", Nicolas Philibert gives to see the secrets of an essential profession: nurses, seized here in their years of formation. Behind the actions that heal and save, a thousand unimaginable skills are required and a thousand tiny skills assimilated – a simple hand washing takes in this film the appearance of sophisticated choreography. Many are shown to us also doubts and terrors of these intimidated beginners. In the secret of the face-to-face with a referent, each student tells an internship. Psychiatry or geriatrics, two frailties are telescoping, that of the novice and that of the patient, to which is added the institutional violence at the time of the pricing to the act. Not losing one's humanity enters into learning.
Anne Crignon


♥♥ "Sollers Point – Baltimore", by Matthew Porterfield. American drama, with McCaul Lombardi, James Belushi (1:40).
Keith has just completed his house arrest. But, between disappointed hopes and small trades not to sink, his return to normal life is a failure. Around this hero lead, the filmmaker "Putty Hill" continues his observation of the impasses of the American dream and the planned deliquescence of Baltimore, his hometown. A bruised metropolis, sacrificed on the altar of American economic policies. Thanks to his ability to make a beautiful gallery of secondary characters exist – the father, the girlfriend, the even more lost pals – the filmmaker denounces without any Manichaeism the marginalization and the social determinism in the United States.
Xavier Leherpeur

It missed
"Miracle at Santa Anna", by Spike Lee. American war movie with Derek Luke and Laz Alonso (2:36).
Produced in 2008, Miracle in Santa Anna will never have known the honor of the dark rooms. The official reason? A dispute between the production company of director Spike Lee and TF1 Distribution. The unofficial is to look for a unique and traumatic press projection punctuated by mocking laughter and derogatory comments. A decade later, the miracle still does not happen. This fresco, a reconstruction of a forgotten episode of the Second World War that saw the sacrifice of African-American soldiers, sins by a militant scenario to shameless Manichaeism and staged by the tractopelle. Sincere no doubt, but true way of the cross.
Xavier Leherpeur

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