“France”, “Fragile”, “Cow skins” … Films to watch this week


A woman on the brink (France), a crumpled boy (Brittle), an unscrupulous rapist (The Land of Men), villains in spades (Don’t Breathe 2), Jean-François Stévenin to find in Cow hides : no vacation for the cinema which, in this last week of August, offers a poster of great diversity.

“France”: a country, and a woman, breathless

As the polysemy of its title indicates, France, by Bruno Dumont is a two-sided film. Pile: an attack in order, enraged and debordienne, of a mutant spectacle society, today regenerated by blows of continuous information channels, social networks and press people. France de Meurs (Léa Seydoux), presenter of a successful program on a major news channel (barely veiled caricature from CNews), reigns as a high priestess over this world.

Front side: this title should be read, France, like that of a great 19th century noveliste century which would have given to his film the name of his heroine – Emma Bovary, Anna Karenina. The story of a woman caught in her own trap: she who sells events to the masses is incapable of going through a single one. At least until his car hit a young man’s scooter.

At last, France, it is also the secret story of a face, that of Léa Seydoux, who finds her greatest role, princess both understood and lovingly martyred by Dumont, moralist who draws her way of the cross – such as Roberto Rossellini collecting star Ingrid Bergman in her harsh cinema. She walks through the film in tears. It is about this gift of tears specific to the heroines of Dumont, this secret intuition that life is elsewhere, we do not know where, undoubtedly located in this unattainable and metaphysical zone that is always, with him, the out-of-scope. . Muriel Joudet

“France”, Belgian, Italian, German and French film by Bruno Dumont. With Léa Seydoux, Benjamin Biolay, Blanche Gardin (2:14).

“Don’t Breathe 2”: meaner, you die

A trio of thugs breaks into the house of an old man, located in an underprivileged neighborhood of Detroit (Michigan), to kidnap, for mysterious but horrendous purposes, the young girl who lives with him. The inhabitant is blind. But he is a former adventurer, trained in all kinds of combat techniques.

Unlike the first title of this franchise, here we are wholeheartedly with him and he goes from “bad guy” to the status of vigilante, a way of playing with the cheerful dialectic of infirmity and (almost) superpowers.

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