“Get awesome, get awesome!” : Our Ceremonies impresses, annoys, revolts, or thrills. The first extremely seductive film, the latest in a certain trend, “post” or back from everything, from young French cinema (the one after the end of the world which leaves only shapes behind it), it recounts, in large slices of scope in bright colors applied with a knife, the epic on the spot of two brothers (the beautiful Simon and Raymond Baur) united since childhood by a secret pact with death.
Addicted without dialectic to adolescent masculinity, regressive as its title would have it, Our Ceremonies throws himself headlong into the void with the audacity of despair, armed with his taste for what slaps (death) and which dazzles us: a fantasy of omnipotence which is certainly the subject of the film , but which is also its driving force. Somewhere in the 2000s, at a more or less indatable moment (in Tony and Noah’s childhood or in that of director Simon Rieth, who is 26), we lost touch with life – that goes for the cinema, with reality. Since then, we have been dying constantly in an attempt to resurrect. This is the historical thesis of the film, its intimate, deep mourning: it is just. He draws all the consequences. There’s nothing else to save, just to make it worse, brother. We are not forced to follow it. Besides, it remains an ideal, nihilism, a horizon: in truth, we can do even worse.