Set to American time
Twitness and spokesperson for the vitality of independent production on the other side of the Atlantic, the American Film Festival of Deauville, whose Point is a partner, presents for ten days no less than fifty feature films, eleven previews and three films selected at the Cannes Film Festival, including the Palme d’Or, the stripper Without filter, by Swedish director Ruben Östlund (in theaters September 28). For this 48e edition, the jury – chaired by the director Arnaud Desplechin, surrounded in particular by the Algerian writer Yasmina Khadra and the actress Marine Vacth – must decide between thirteen films in competition, including eight first. The highlight of the Festival is the appearance on the red carpet of Spanish-Cuban actress Ana de Armas, headliner of Blonde (on Netflix, September 23), by Andrew Dominik, based on the bestseller by Joyce Carol Oates, who imagined the life of Norma Jean Baker, alias Marilyn Monroe.
READ ALSOAna de Armas: the bomb that dynamites “Dying can wait”
Noticed in a sexy sequence from the last 007, Dying can waitshe will be crowned with the New Hollywood Prize, just like the American actress Lucy Boynton (Le Crime de l’Orient-Express, Bohemian Rhapsody) and Thandiwe Newton, heroine of the series Westworld and favorite actress of Ron Howard, Xavier Dolan and Roland Emmerich. For his part, Jesse Eisenberg (The Social Network, Batman v Superman : l’aube de la justice) will receive a Talent Award and present his first film as a director, When You Finish Saving the World, which follows the tumultuous relationship between a devoted mother and an ultranarcissistic teenage son. Finally, the “The Docs of Uncle Sam” section will host nine documentaries, including Belushi, which evokes the brief career of John Belushi, who died in 1982 at the age of 33, two years after the first of Blues Brothers by John Landis, in 1980, in Deauville.
Deauville American Film Festival, September 2-11.
Practice kung fu in the multiverse
Phenomenon alert! Already presented as “the Matrix millennials », Everything Everywhere All at Once took everyone by surprise in the United States. The independent micro-blockbuster, directed by thirty-year-olds Dan Kwan and Daniel Scheinert, has experienced an unexpected and glorious destiny since its release in American theaters on March 25. Driven by ecstatic reviews and word-of-mouth, this fantasy, at the crossroads of family soap, kung-fu and multiverse film, immediately infiltrated the top 10 at the box office, which it never no longer left for 16 weeks.
READ ALSOSF et système D : « Everything Everywhere All at Once »
If the scripts of Matrix you were already stuck with a severe migraine, double the dose of aspirin with Everything… The plot follows the fate of Evelyn Wang (Michelle Yeoh), a Chinese immigrant in California, responsible with her husband Waymond (Ke Huy Quan) for a laundromat business as boring as her married life has become. At loggerheads with her lesbian daughter Joy (Stephanie Hsu), stressed by her meeting with a cantankerous tax auditor (Jamie Lee Curtis, ugly as ever), Evelyn will have to deal with a new little annoyance: in the elevator of the tax office, an alternate version of Waymond arises to teach him that she alone has the power to save the multiverse, threatened by an omniscient and omnipotent plague.
Often exhausting, but also amazing, funny and innovative, EEAAO has the fault of its qualities: too much, all the time, too quickly. Metacultural references fuse, philo-chic winks jostle, tones merge in an infernal saraband. The absurd schoolboy, even saucy, is also part of the trip. A UFO, we tell you!
“Everything Everywhere All at Once”, by Dan Kwan and Daniel Scheinert. Theatrical release August 31.
Take flight with Uto’s musical loops
Attention, musical nugget! The French duo Uto has taken refuge in a cabin-studio in the heart of Loiret, near the Château d’Augerville where the deputy Pierre-Antoine Berryer organized in the 19the century of parties in which his friend Chateaubriand took part and which was later a cocaine manufacturing laboratory, to record his first album, Touch the Lock. Twelve natural, organic songs, with feverish aerial loops and sensual melodies. An often symphonic pop that sometimes evokes the album Biophilia of Björk and the trip hop of Portishead. It’s been six years that Neysa May Barnett and Emile Larroche have been singing beautiful songs on EPs, like That Itch et The Beast. Their first opus devotes their talent as composers, with titles that express gravity (Heavy Metal et forsake) and sweetness (Behind Windows). Touch the Lock is a surprising matryoshka that harbors hypnotic colors and strong inner emotions. An ode that caresses the ear from the first bars.
Touch the Lock, InFiné & Pain Surprises/Bigwax. On tour: Caen (09/30/2022), Strasbourg (10/30), Massy (11/05), Nantes (11/17), Rennes (11/18)
Lock the door to hell
Lock & Key is a gem of a gothic pop series, fashioned for a teenage audience, but which adults are challenged not to get hooked on from the first episode. His pitch: an American family, the Lockes, inherited a mansion camped on the heights of a small American port city. After the brutal death of the father, the mother and the three children have taken up residence in this old family home… before discovering that their “Key House” is full of keys with delirious powers (to make their owner ultra-muscular, to make him fly , transform it into a ghost…) and, for some, formidable. Over the first two seasons, they discovered that these keys came from an “other world” populated by demons, who eye the dangerous powers of the keys. And many of their friends sacrificed their lives in the clashes. In this third season, less “teen” and more introspective, less trashy and more melancholic than the two previous ones, the Locke family continues their hunt for the keys and asks themselves (finally) the real question: should they, or not, throw away the keychain and give up magic to drive out their old demons – who have not said their last word…
On Netflix
Get your Image Visa in Perpignan
Boucle 10sec 03_1 from JEAN FRANCOIS LEROY on Vimeo.
Years ago, those of the war in Ukraine, the return of the Taliban to Afghanistan, in particular… where we said to ourselves even more intensely that, without photojournalism, we would definitely be missing something. Then there is a greater desire to share the state of the world with those who sometimes travel through it at the risk of their lives. This is how since 2014, twenty journalists have been killed in Ukraine. Winner of the golden visa from the city of Perpignan Rémi Ochlik 2022, Lucas Barioulet testifies, in Perpignan, to this daily life. Just like his colleague Daniel Berehulak, and again Mstyslav Chernov and Evgeniy Maloletka, the last journalists to have photographed the hell of Mariupol. The 2022 Visa pour l’image meeting is of course opening up to other places and themes. Closer, it shows Ameer al-Doymy’s reports on migrants from northern France. Imprisoned Latin American women, seen by a woman? Here are the magnificent photos of Ana Maria Arevalo Gosen. While Sabiha Cimen, she follows the daily life of the Hafizas, those who in Turkey know the Koran by heart. From the oceans to endangered species of birds, from the pills sold on the Haitian sidewalks told by the images of Paolo Woods to the bush planes of Alaska, the spectrum is immense, exciting, poignant. We will meet this year the photographer Françoise Huguier, 40 years of career and an insatiable curiosity, in this 34e edition, not to be missed, even if it is “only” through an intermediary website…
READ ALSOPhotojournalism: 26e edition of Visa pour l’Image between crisis and conflicts
Visa for the image, Perpignan, until September 11.