“Sarah Bernhardt, the divine”, “Oh, Canada”, “Mufasa”… Released in cinemas Wednesday 18 December

2024-12-18 06:53:00

♦ Sarah Bernhardt, the divine ***

by Guillaume Nicloux

French film, 1h38

Guillaume Nicloux chose to tell the story of Sarah Bernhardt in two eras: 1915, at the age of 70, confined to bed in hospital after the amputation of her leg, and 1896, twenty years earlier, where the actress then pinnacle of glory is celebrated by his friends and admirers. The filmmaker largely purifies the broad lines of her biography to preserve only the vague portrait of an incredibly free, determined, daring, loving woman, who knew how to impose her power in an era in which an actress was often reduced to her status as an “actress”. demmondaina”.

One of the great strengths of the film is dusting off the myth to offer us a living and vibrant Sarah Bernhardt, whose extreme modernity resonates with us. Sandrine Kiberlain, whose talent, despondency and imagination drag us into the excesses and unreasonableness of her character, plays Sarah Bernhardt with the emphasis and theatricality suited to the character.

» READ THE INTERVIEW: Sandrine Kiberlain: “To play Sarah Bernhardt I summoned all my fifties”

» READ THE REVIEW: “Sarah Bernhardt, the divine”, in the skin of a sacred monster

♦ Oh, Canada ***

by Paul Schrader

American film, 1h35

Paul Schrader adapts the penultimate novel by the American writer Russell Banks, who imagined an interview in the form of a confession given at the end of his life by a busy director, Leonard Fife (Richard Gere), to one of his former students and disciples. Exhausted from illness and treatment, he has only one need during the recording: that his wife Emma (Uma Thurman) is always present. Leo intends to get naked in front of the camera and reveal the sum of the little cowardices and lies of which he is guilty.

The film therefore navigates between the present, with all the harsh reality of his physical decline, and the 1960s in an America in full cultural ferment. All masterfully mastered by Paul Schrader, 78, who finds in Leonard Fife, as in his creator Russell Banks, a generational alter ego confronted with the moral and ethical choices of an entire country.

» READ THE REVIEW: “Oh, Canada”, Paul Schrader’s twilight tale

♦ The beautiful role ***

by Victor Rodenbach

French film, 1h24

For Nora and Henri, in their early thirties, the merger has been going on for years. Already at university he directed and acted in an exhilarating complementarity. The pieces followed one another, resulting in success and recognition. When his agent advises him to audition for an upcoming film, it’s up to Henri to take a step into the void, without Nora. When he got this golden role, he saw this step aside as a betrayal.

Partner of director Pauline Bayle, Victor Rodenbach makes a highly successful first feature film, partly informed by their experiences, which explores the backstories of theater and cinema and the twists and turns of life together. His romantic comedy, which joyfully challenges the codes of the genre, turns out to be serious and lively, fair and hilarious.

» READ THE REVIEW: “The Beautiful Role”, loving each other and working together

♦ Everyone loves Touda ***

by Nabil Ayouch

Moroccan film, 1h42

Everyone loves Touda paints the portrait of a Cheikhate, one of these traditional Moroccan singers, whose song is a cry of resistance against the powerful and the established order. Touda is one of them, who tries to maintain this tradition, despite the little consideration these women receive today. Raising her son alone, singing in seedy bars to earn a living, she dreams of going to Casablanca.

All the film’s energy lies in its lead performer, Nisrin Erradi, and a grueling opening rape scene. The filmmaker does not mince words in crudely describing the fate of these women, most often compared to prostitutes and subject to the will of men.

» READ THE PORTRAIT: Zohra El-Fassia, the first

» READ THE REVIEW: “Everybody Loves Touda”, a song like a cry of anger

♦ Mufasa *

by Barry Jenkins

American animated film, 1h59

Disney tells the story of the youth of Mufasa, Simba’s father, who died in tragic circumstances in The Lion Kingbetrayed by his enemy brother, Scar. Before being the proud ruler of the savannah, Mufasa was also a lion cub who lived happy days. But a torrential rain takes the young feline away from his family. Adopted by a new tribe of lions, Mufasa forms a strong brotherly friendship with Taka, the chief’s son. It is the beginning of an epic, towards a promised land where animals live together in peace…

Despite the spectacular settings and disturbingly realistic images, the film develops an agenda with noble intentions but in an all too predictable way. Few surprises await the spectator who defeats boredom by counting the number of hairs on the mustaches of Mufasa and his friends…

» READ THE REVIEW: “Mufasa”, Cain and Abel in the savannah

NO! * Why not ** Great movie *** Great movie **** Masterpiece