Movies to see (or not see)

Here you have the reviews of the main films of the week of January 24, 2024.

A French period film, a remake, a first original French film and the latest from Todd Haynes: all tastes are in the theaters.

“Captives” by Arnaud des Pallières (3/5)

With Mélanie Thierry, Josiane Balasko…

The rest after this announcement.

A lover of demanding and very romantic cinema, Arnaud des Pallières (“Michael Kohlhaas”) recounts the imposed captivity, that of women confined in an asylum for reasons often unrelated to madness, this daily life among women to whom the dominant man Society imposes its laws and its vices. With the camera in hand, in a tense, nervous but also very human film, the director portrays everyday life, captures glances, probes souls. Sometimes this point is overemphasized, but “Captives” is a manifesto of resistance and resilience, embodied by a variety of captivating actresses, from Mélanie Thierry to Josiane Balasko, Carole Bouquet or Yolande Moreau, strong and beautiful in their nuances. Fabrice Leclerc

The rest after this announcement.

« May December » by Todd Haynes (2/5)

With Julianne Moore, Natalie Portman…

From “Carol” to “Dark Waters,” Todd Haynes still loves to hate self-righteous America, an expert at sweeping dust under the gaudy rug. And this duel between a curious actress and a rich woman convicted of a relationship with a minor (who has since become her husband at the age of 40) does not escape the director’s camera scanner. Between satire and melodrama, here we have another film that examines a bourgeois America, eternal kingdom of appearances, with multiple reading grids. A film with a necessarily tasty intelligence but with an expected, almost marked story. Perhaps too simple for Haynes to really transcend his film. Fabrice Leclerc

The rest after this announcement.

The rest after this announcement.

“The Color Purple” by Blitz Bazawule (2/5)

With Fantasía Barrino, Taraji P. Henson…

Spielberg’s great film in 1985, later adapted into a Broadway musical, here is again the magnificent fresco written by Alice Walker about the mistreated fate of two black sisters in post-slavery America at the beginning of the century, a magnificent story of violence intimate , the status of women and the sisterhood of women. But Spielberg (co-producer of this remake) had said it all at the time and in a much more shocking and moving way than in this lazy and good-feeling film, a musical comedy produced with tact but whose usefulness questions the questions. Always prefer the original to the copy… Fabrice Leclerc

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