A musical, a feminist fight, a film in a theater, cinema in a newsstand, the return of James Bond… This week, cinema is presented from every angle.
“Tralala”: musical fantasy
The new Larrieu has arrived! The brothers Arnaud and Jean-Marie (55 and 56 years old), originally from Lourdes, mountain surveyors of miracles and possibilities, have been examining for twenty years the critical state of a utopia that they have not managed to remove or to head or soles. The two men are filming this time at home, in Lourdes, a fairy-tale village stamped with the seal of the Catholic faith, belief in miracles and well-understood commerce.
Lourdes, capital of the procession, is only worth the cinema when you have the courage to take a step aside. Three strong ingredients are used for this purpose by the Larrieu siblings. The first is the old accomplice Mathieu Amalric, actor on the wire who likes nothing so much as to offer his intimate vacillation to the big capsized of the profession. The second is the fine decision to play it musical comedy, by having a large majority of non-singers interpret things of taste, signed Bertrand Belin, Philippe Katerine, Dominique A, Etienne Daho, Jeanne Cherhal. Finally, there is of course the intrigue, which has the intelligence to offer a secular variation of the Lourdes canon: suffering and sickness of the soul, providential appearance, miraculous healing. By the grace of Tralala, which is none other than the name of the character played by Amalric. Jacques Mandelbaum
French film by Arnaud and Jean-Marie Larrieu. With Mathieu Amalric, Mélanie Thierry, Josiane Balasko, Maïwenn, Galatéa Bellugi, Jalil Lespert (2 hours).
“Delphine and Carole, rebellious”: the feminist struggle of filmmakers
We cannot claim to know the immense Delphine Seyrig (1932-1990) without discovering this documentary, which testifies to her deeply feminist commitment. With documentary filmmaker Carole Roussopoulos (1945-2009) and director Ioana Wieder (born in 1932), Delphine Seyrig was the co-founder, in 1975, of the Insoumuses collective, then, in 1982, of the Simone-de-Beauvoir Audiovisual Center, whose mission was to put “At the heart of their objectives, the conservation and creation of audiovisual documents which could then be identified concerning the history of women, their rights, their struggles, their creations”.
Nourished by rare archives, the documentary retraces the journey of these three women, their falsely cobbled together films denouncing patriarchy with scathing humor, including in art, in cinema or on television. Delphine Seyrig had this sentence which resonates so aptly today: “We have always seen women [au cinéma] as men painted them. And I think it’s very important now that women start to show themselves. “ Clarisse Fabre
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