MORNING LIST
On display this week, the fortieth feature film by Clint Eastwood, the twilight film by Nanni Moretti, the metamorphosis of Valérie Lemercier into Céline Dion… but also the exhibition “CinéMode par Jean Paul Gaultier” at the Cinémathèque française, in Paris.
“Cry Macho”: last lap for Clint Eastwood
Without a doubt Cry Macho will it not remain as Clint Eastwood’s masterpiece. Nothing goes without saying in this fortieth feature film from the veteran filmmaker, between a scenario that does not really hold up, a generally anachronistic tone and an often hazardous interpretation. But the film is not played entirely in this very first degree style. Cry Macho is all we want: a wobbly, lame, quirky film. But he also knows, in the background, to be irresistible, and even at times overwhelming.
Mike Milo (Clint Eastwood) is a former rodeo champion deposed following a bad back injury, mourning a wife and son who died in a car crash. Living alone on his Texan ranch, he is entrusted by his ex-boss with the mission of going to recover his 13-year-old son, Rafael, known as “Rafo” (Eduardo Minett), on the other side of the Mexican border. cut of a despotic mother (Fernanda Urrejola).
On the spot, Mike discovers a kid in rupture who pours in the fights of clandestine cocks with his own mascot named “Macho”. Willy-nilly, the old man embarks her with the bird in his van for an eventful return trip. Cry Macho revisits in his own way, light and picaresque, certain Eastwoodian standards, offering the character he has built up over the years a lap that we can easily imagine to be the last. Mathieu macheret
American film by and with Clint Eastwood. With Eduardo Minett, Dwight Yoakam, Natalia Traven, Fernanda Urrejola (1 h 44).
“Aline”: cry of love from Valérie Lemercier to Celine Dion
Sincerity sometimes has the gift of nailing criticism. What is more when it is expressed with ingenuity, as in Aline, the sixth feature film by Valérie Lemercier. A biopic on Quebec singer Céline Dion “Both faithful and fantasized”, underlines the director. An assumed hagiography, a slightly kitsch love song, a letter from a midinette addressed to her idol, we will add.
What to scare away, and some will not miss it. Or to be touched, as was the case for us, by the intention which directs the film: to tell in the first degree, without irony (but not without humor), the itinerary of an ordinary little girl who, one day, meets great love and becomes a popular singer, in a world too big for her.
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