I will die in the Carpathians, Africa Mia, Antoinette in the Cevennes … films to see or avoid this week

I will die in the Carpathians, Africa Mia, Antoinette in the Cevennes … films to see or avoid this week


To have

Antoinette in the Cevennes, Comedy by Caroline Vignal, 1h35

The school teacher Antoinette (Laure Calamy) sings and dances with the idea of ​​spending a week’s vacation with Vladimir, her lover (Benjamin Lavernhe rather discreetly). At the last minute, her lover tells that he is leaving for the Cevennes with his wife and child. Without thinking, Antoinette decides to join the man she madly loves and reserves a donkey named Patrick to accompany her. His path will be littered with pitfalls, various discoveries and unexpected encounters. In her second feature film, Caroline Vignal focuses on a young woman who is as fearless and exuberant as Pippi Longstocking. In search of her lost suitor, in the shoes of an extraordinary teacher, she comes to life again, grows up, mourns her eventful love, frees herself, and finds new landmarks. Caroline Vignal’s “Donkey Film” comedy, dubbed the 2020 Cannes Film Festival, brings joy to the heart.

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I will die in the Carpathian Mountains, Comedy by Antoine de Maximy, 1h36

With his red shirt, which is as conspicuous as a happy blinking light, and his insatiable curiosity, Antoine de Maximya fakes the air of a Tintin reporter. For 16 years this “crouching globe” has gained a lot of fame thanks to its broadcast on television I will sleep in your house. With this first feature film in the form of a romantic investigation I will die in the Carpathian MountainsHe takes the stage at the heart of one of his great fantasies: dying during one of his reports. A death so feared that it drives it out in the cinema. Still, the film is bouncy, light and warm like its missing hero. Even if Antoine de Maximy locates the twists and turns of his adventure in the creepy and mysterious atmosphere of Dracula’s land and withholds some breathtaking and exciting sequences from us, it is ultimately the “ink” spirit that triumphs. . In this regard, Antoine de Maximy remains an incorrigible optimist. That’s good in these uncertain times.

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Honey land , Documentary by Tamara Kotevska and Ljubomir Stefanov, 1 h 26

This documentary was nominated twice for an Oscar for best foreign film and documentary and is the top prize at the Sundance Film Festival. He follows the life of a “woman with bees” who collects honey in the traditional way in Macedonia. The heroine sees a large family arrive in her village. The father also wants to collect the honey … A tragedy unfolds. Landscapes of immense beauty, careful photography, the directors offer a kind of Russian western. We come out shaken.

do not look back , Thriller by Nicolas Roeg, 1 h 52

Unable to save his 5-year-old granddaughter from drowning, Donald Sutherland leaves England to mourn and restore a church in Venice. To make matters worse, a serial killer chases the streets. We also meet two sisters, one of whom is blind and plays media. Hitchcock’s influence lies in the decision to adapt a short story by Daphné du Maurier. And in the processing with their violent and daring connections. Former cameraman Nicolas Roeg attaches great importance to colors. Red dominates here, the color of danger and death. do not look back (1973) flirts with Giallo, an Italian and baroque genre that mixes thriller and the supernatural. Above all, it’s that great nightmare to be rediscovered indoors in a restored version.

The things we say, the things we do, romantic drama by Emmanuel Mouret, 2:02

Maxime tells of his life, his setbacks. He undoubtedly embellishes a little, sometimes plays the beautiful role. There’s nothing wrong with that. It doesn’t take Daphne long to follow suit. It also has a story. The love of others is always interesting, mysterious. We are listening. We compare. Emmanuel Mouret shows cultured, sensible, vaguely lost beings. The couples split up with some kind of smiling death with no real drama. The staging is seldom fluid. It is the cinema of tenderness and lightness. Emmanuel Mouret offers an intarsia of feelings. He maintains his style, but a state of grace can be felt here. Everything works for him. Camélia Jordana is shy and sensual. Emotional and fragile, Vincent Macaigne extends his usual palette. Émilie Dequenne surprised: she hides her game well. The ensemble makes you want to approach passers-by on the street, read their classics again and put Erik Satie on the turntable. Another kiss, please.

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You can see

Africa Mia, Documentary by Richard Minier and Edouard Salier, 1h18

In the 1960s the Las Maravillas de Mali Orchestra was a great success in Cuba. The story of this training for young musicians who were recruited in Mali and trained in music by the Castro regime has fascinated music producer Richard Minier for two decades. Full of anecdotes – like this meeting with Fidel, accompanied by Che as an interpreter – the film paints a gallery of very lovable characters. Pictures from the Egrem studio, made famous by Buena Vista Social Club, by Wim Wenders, are excellent. Like the music of these Afro-Cuban pioneers. Africa Mia is sometimes chaotic, crossed by the doubts of its author. The testimony of the brilliant Salif Keita offers an interesting perspective on the abandonment of Malian music by the regime that took power in the 1970s. Lively, touching, colorful, this film is a great festival of life and music.

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To see too

The maquisards, historical drama by Nora Hamdi, 1h24

Algeria, 1956, plunged into a war that does not speak her name, a young peasant girl becomes a maquisard despite herself. But during an attack she was captured by a group of commandos who took her to a forbidden place of interrogation, where she was imprisoned with a former French resistance fighter …

Olivier Delcroix, Nathalie Simon, Olivier Nuc, Etienne Sorin, Eric Neuhoff

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