Follow Point in Blois, at the Rendez-vous de l’Histoire
To celebrate its quarter of a century, Les Rendez-vous de l’Histoire de Blois is setting sail with several hundred guests gathered around the theme of the sea. Michelet wrote: “It is by the sea that it is appropriate to begin any geography. We will add: it is by the sea that any story should begin. “Thattata! Thalatta! exclaimed the Ten Thousand Greeks on seeing the Pont-Euxin. Thalatta! Thalatta! It’s time to hoist the mainsail. Here is the program of Pointpartner of the event:
“The odyssey of our food” (Friday 7, 11:30 a.m. to 12:45 p.m. Robert-Houdin House of Magic) with Pierre Singaravélou, Philippe Artières, Pauline Peretz. Moderation: François-Guillaume Lorrain, editor-in-chief ideas and history at Point.
“The planet seen by the rivers” (Saturday 8, 11 a.m.-noon. Prefecture) interview with Erik Orsenna by Christophe Ono-dit-Biot, deputy editor of the Point.
“The Mediterranean, mother of exiles? (Saturday 8, 2 p.m. to 3 p.m. Literary café) with Adrien Goetz and Christophe Ono-dit-Biot, hosted by Philippe Bertrand.
“Le Commerce des Allongés” (title of his new novel, Saturday 8, 5:45 p.m. to 6:45 p.m. Royal Castle) interview with Alain Mabanckou by Valérie Marin La Meslée, journalist at Point.
And finally “History and Literature. The matrix of masterpieces” (Sunday 9, 11:15 a.m. to 12:45 p.m. Amphi 1, university, Jean-Jaurès site) with Sébastien Le Fol, editorial director of Point.
blois.fr/attractive/festive/rdv-histoire Until October 9th.
READ ALSOJacques Perrin: “The experience of the ocean makes you better”
Exploring Munch’s Tormented Palette
SUnder the curatorship of Claire Bernardi, new director of the Musée de l’Orangerie, the exhibition that the Musée d’Orsay is devoting to the Norwegian painter Edvard Munch (1863-1944) widens the compass, according to a punchy museography that strikes at the plexus. Obviously, and in spite of shimmering sweetness, we are here closer to Lars von Trier than to a blue tale. At the opening of the exhibition, a Self-portrait with a cigarette, from 1895, reveals the youthful portrait of this painter who defined art as “the form that an image takes once passed through the nerves of the human being”. Fine lines, as secretly hallucinated, it is the introspection of a tormented person. Facing intimate storms with his young mistresses, Milly Thaulow or Tulla Larsen, this painter of revivals and repentances will order his tumults according to a serial principle: “I build a painting from another”, he professes. From 1902, he exhibited a modular cycle, the frieze of life, which will include over the years between 15 and 50 canvases. Munch refines the recurring themes of the bridge, the nourishing tree, mourning, an eroticism defined as “the underground cable of love”, which he likes to redouble in an expert practice of lithography and woodcut. Another art will interact with his palette: theatre. His meeting in 1906 with the great director Max Reinhardt who will influence him in his pictorial treatment of space. Retired near Oslo in his villa in Ekely, financially strengthened and gradually marching towards glory, Munch saw other shadows rising over Europe. In 1937, entering old age, he learned that 82 of his paintings had been classified as “degenerate art” by Hitler’s Germany.
“Edvard Munch. A poem of life, love and death”. Musée d’Orsay, until January 22, 2023. Catalogue, 256 pages, €45.
Make yourself stars at Cinéroman, in Nice
Twelve films in preview, nine films in competition, nine cult films, not to mention masterclasses, meetings, debates and readings that allow publishers, writers, producers, directors and actors to build projects together. Organized by Nathalie and Daniel Benointhe 4the Nice Cinéroman festival, from October 5th to 9th, open to the public, celebrates as every year the marriage of words and image, cinema and literature. Many artists and writers are invited, and Danièle Thompson the director of code changed or of Orchestra seats presides the jury, surrounded by Sabine Azéma, David Foenkinos, Ana Girardot, great English screenwriter and director David Hare, Pascale Arbillot and Pascal Elbé. Claude Lelouch, Thierry Lhermitte, Sylvie Testud and Samuel Le Bihan are also expected on the Côte d’Azur, in the three key places which are the cinematheque, the Pathé Gare du Sud cinema and the Théâtre l’Artistique. Simone, the trip of the centurythe film by Olivier Dahan which retraces the life of Simone Veil, will be screened in preview at Cinéroman, as colors of fireby Clovis Cornillac, The Houseby Anissa Bonnefont, Minede Roschdy Zem, Masquerade, by Nicolas Bedos Stormby Christian Duguay, This summer, by Éric Lartigau, who are part of the selection for this unique festival.
Cineroman, from October 5 to 9 in Nice. festival-cineroman.com/
Follow Aimé Césaire until “at the end of the early morning”
Notebook of a return to the native country of Aimé Césaire, it is the almost always companion of Jacques Martial who plays it and stages it by giving to hear, to follow, to see all the nuances of this poetic text which one says difficult and which, on the scene of the Wooden Sword, is sumptuously embodied, and this in the very simple but effective decor of a curtain in front of which awakens (“insane awakening”), in the early morning of Fort-de-France, Martinique, “inert city”, the one that will be the voice of the voiceless. “My mouth will be the mouth of misfortunes that have no mouth”: Césaire was 25 when he wrote this poem in which Martial embodies all the characters, “lyingly smiling” Martiniquan women, peasants, washerwomen, “this crowd so perfectly alone under the sun “. And the decor. Fauna, flora, sewers, the words come out like the makeshift clothes that the actor takes out, flamboyant, large checkered bags, making the immigrant the bearer of the misery of the streets, that which Césaire denounced with love and rage, tenderness and ardor for his own. The scene of the “negro”, his brother, crossed in the tram, “comic and ugly”, remains one of the highlights of this show with subtle variations. The tension of the verb never drops, even when the tone of voice softens, smiles, or when the gaze follows the “tireless road” between the hills. “At the end of the early morning”, here is “the unexpected negra, standing and free”. If you have always wanted to read Césaire (the poem is published by Présence africaine editions) and know this fundamental text, if you want to resonate with its intense humanist and fraternal topicality, now is the time to go To hear. Superbly served.
Bois-Cartoucherie sword theater. Until October 16 (Thursday to Saturday at 7 p.m., Saturday and Sunday at 2:30 p.m.).
READ ALSOAimé Césaire: France faced with the gangrene of colonialism
Take off with the Colle brothers
Percussive, the Drum Brothers are certainly. These three boys have been offering, since the 1is October, a musical show that literally shakes Bobino every night. The performance of these three Bordelais bewitches the public who finds themselves clapping their hands without having really anticipated it. They are named Stéphane, Cyril and Clément and arrive on stage wearing helmets like Daft Punk, with this nuance that their headdresses are snare drums. For an hour, these talented percussionists won’t stop performing drum numbers. If you enjoy American shows by the Blue Man Group or their British counterparts Stomp, this show is for you. But even if you’re not a fan of rhythmic music, you can only vibrate in front of these fellows who deploy mad energy to embark the spectators in their childish delirium. Resolutely eyeing the burlesque, the trio seems to take pleasure in surprising their audience. His inventiveness in this area even seems limitless. To create haunting melodies, the Colle brothers do not just play the drum but alternate guitar, flute and bagpipes. They even transform simple umbrellas into giant batteries. Chaining acrobatics and juggling numbers, the Drum Brothers take the spectators far away, in a form of communion rare in theater today.
Drum Brothers, on the Bobino stage, until October 29. Thursday to Saturday at 7 p.m. and Sunday at 3 p.m.
Play it Without Filter
Second Palme d’Or at Cannes (after The Square) for Ruben Östlund who does it again with Without Filter, a scathing comedy about our consumerist society, class relations and political correctness. The matter of our failings is inexhaustible, the Swedish filmmaker uses it as his explosive fuel. It all starts with a hilarious fashion cast, continues with a luxury cruise and ends on an island with castaways, poor and rich mixed together. Everything turns into a playful nightmare with characters that are both human and unbearable like this couple of influencers or this Russian oligarch facing this American captain, alcoholic, Marxist who refuses to leave his cabin. With this devastating comedy on the zeitgeist – rather sullen – Ruben Östlund manages to make us laugh, pointing out our little cowardice, our little arrangements. Better than a speech, this unclassifiable, joyful film which heckles the ambient conformism is the best argument for going to the cinema.
READ ALSOSex, social networks and class struggle: Ruben Östlund, the cinema blaster
“Without Filter”, indoors
Get bitten again (and love it) by Cobra Kai
After three vintages worthy of a black belt level, the punch of this fabulous sequel series of films Karate Kid seemed to soften a bit at the end of its season 4. Phew: despite a slow and useless start in Mexico, this fifth new delivery revives (almost) with the best shots of the saga. War is declared for good between the alliance of the good guys sensei Daniel LaRusso/Johnny Lawrence/Chozen Toguchi versus the evil billionaire Terry Silver (Thomas Ian Griffith, as he starred in Karate Kid 3 in 1989). After sending his ex-mentor John Kreese to prison following false testimony, Silver now rules the Cobra Kai karate club with an iron fist. A veritable Darth Sidious of the tatami, instilling small-tapping techniques and a culture of violence in his students, the toxic businessman dreams of expanding his empire not only to the entire LA Valley, but also internationally. Unbearable for the valiant Daniel LaRusso (Ralph Macchio), undermined by the closing of his own Miyagi-do dojo!
READ ALSOKarate, redemption and nostalgia: the “Cobra Kai” miracle
Over the course of ten episodes, LaRusso will let himself be eaten away by his obsession and almost switch to the dark side, while Johnny Lawrence (William Zabka), he tries to rebuild himself in a stable family life (interesting reversal!). The duo will finally have no choice but to reform to, with the help of Japanese sensei Chozen, counter Silver’s plans. The intrigues relating to the teenagers are not left out – Tory, Samantha, Robby, the young Kenny… all mature more or less painfully. But in truth, let’s confess a weakness for Chozen Toguchi: cruel ex-thug of Karate Kid 2now also in search of redemption like Lawrence, it is through him that one of the most formidable screenplay ideas of this 5e season, in the last two segments. A disarming humanist lesson in simplicity, more precious than all the secret boots of kung fu. Thrilling and moving, this conclusion honors Cobra Kai after a few venial misfires. And what a pleasure (not even guilty) to still peck at all these skilfully distilled nods to the eighties – on the program pell-mell: Top Gun, Rocky III et IV, Dungeons and Dragons and hits by Van Halen, Dead or alive, Poison… In short: we are always bitten by Cobra Kai... and we love it!
“Cobra Kai, season 5”: ten episodes available on Netflix.