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★★★☆☆cow
From one calving to another, Andrea Arnold accompanies without comment Luma, a dairy cow resident among many others on a British farm. Where we fully grasp the concept of modern animal husbandry
read also: November: Profusion on the notches
A life cycle. But what life? That, subjected to the industrial process, responding to a protocol of profitability and the competitiveness of a bovine organism transformed into a machine within a factory producing milk and calves. Andrea Arnold abstains from voice-overs because her images need no explanations or additions: filming Luma at the height of the withers, she places us like her in a position of inferiority, of silent subjection in relation to her trainers, forced to follow the lead. Is Luma mistreated? We maintain it at least as long as it is profitable, we get rid of it when its obsolescence is proven. Whether cow denounces by example a system, it does not show acts of barbarism or voluntary cruelty (since the employees of the farm are also reduced to acting in a mechanical way); on the other hand, it gives food for thought on animal living conditions on large farms.
Documentary by Andrea Arnold (UK, 1h34)
★★★☆☆Annie Colle
At the beginning of 1974. Working in rural areas, Annie discovered the existence of the MLAC (Movement for the Freedom of Abortion and Contraception) which helped her to abort certainly illegally, but in safety. The death of her young neighbour, the victim of an angel maker, will decide Annie to get involved with the collective, with women, and above all to change the law. Quit making a stir in his family
Impeccable reconstruction in the spirit as the setting for years of activism and struggle of women for the right to dispose of their bodies, Annie Colle allows Blandine Lenoir to continue in the vein of a very original feminine cinema (after Zouzou and Dawn) where the protagonists fully embody societal issues, beyond the anecdote or the comedy. If here the didactic dimension can sometimes seem too strong (the mode of operation of the meetings, of the operations is detailed at length to newcomers), it reflects a historical reality where the activists used pedagogy to transmit information hitherto hermetically preserved by the knowledgeable and other mandarins. By ricochet, the message passes without filter and smoothly (if one can say so) thanks to a roster of well-chosen actresses, including Laure Calamy in the title role. Which is very useful in our troubled times.
By Blandine Lenoir (Fr., 1h59) with Laure Calamy, Zita Hanrot, India Hair
★★★☆☆The High School
Aged 17, Lucas sees his life suddenly deviate from its quiet axis when his father is involved in a car accident. To absorb the shock, he leaves for a while with his brother Paris, where new initiatory encounters make him forget his pain for a while. But he’s not done with his mourning
Semi-fiction, semi-autobiography, The High School is not necessarily a pleasant film at first glance because of its funereal subject and the apparent stuttering that it constitutes in the filmography of its author: the stories of lost teenagers or young bereaved guys who sniff each other here or there before finding themselves with gentlemen, we already seen two or three. Despite everything, there is something singular here that ends up catching up: is it Honor’s personal involvement in front of the camera, in the role of the father who kills himself in a car accident, a replica of an intimate event experienced in his own youth? It is in any case a door to enter this mauve-colored winter film, between shamelessness and restraint, out of time as often but nevertheless anchored today; short, paradoxical its image. Collateral benefit: Juliette Binoche as a contemporary tragic actress and the discovery of a young actor, Paul Kircher interprets a hero whose brother is Vincent Lacoste, all the more credible in this job as he too comes out of the physical canons of the young first.
By Christophe Honor(Fr., with warning, 2h02) with Paul Kircher, Vincent Lacoste, Juliette Binoche
★★★☆☆The Torrent
After discovering the infidelity of his young wife Juliette, Alexandre calls her to account. But she leaves the marital home and accidentally takes it. Fearing being accused of his death, Alexandre convinces his eldest daughter Lison to lie on his behalf. The gendarmes’ investigation and the suspicions of Juliette’s father make Lison’s life untenable.
But who do you have Juliette? The Shadow of a Doubt The False Guilty Each of these titles with eminently Hitchcockian echoes could have constituted an alternative to the one chosen by Anne Le Ny for what is a psychological and family thriller. Leaving in a quiet stream in the heights of the Vosges, mutating into an impetuous torrent before ending its course in a flat lake, that of Grardmer, quotes the ideal rurbanity of this cat-and-mouse intrigue requiring to take place in a vacuum, based on the delicate alchemy of its interpretation. Nothing to say on this side: opposite Andr Dussollier, at first invaded by doubt but still master of appearances, Jos Garcia as an innocent embarked on an infernal spiral is excellent, we regret that too few filmmakers have less audacity than Costa-Gavras or Anne Le Ny when it comes to roles arousing both anxiety and unease. Finally, in the shoes of Lison, Capucine Valmary (seen in particular in the short Romance, abscissa and order) largely derives its ping from the game and offers itself here a beautiful springboard.
By Anne Le Ny (Fr., 1h41) with Jos Garcia, Andr Dussollier, Capucine Valmary
rigor
★★☆☆☆ Dying Ibiza (A film in three ts)
Lena lands in Arles to find Marius, whom she met two years earlier. Staying with him in his absence, she meets Maurice and Ali with whom she sympathizes. Between clumsy love story and boat friendship, the little band will see each other again the following summer, then the one after Ibiza.
Warning concept! The first feature film signed by students from the CinFabrique (Lyonnaise film school) was actually shot over three summers and it shows, but in a good way. Because the painful technical awkwardness of the first segment, betraying the fragility of all the positions, follow two more mastered sections (lighting, narration, sound) exploring different atmospheres while giving the actors more grounding to each deepen their character: the episode Norman (probably the most successful) plays a less literary Romerian card; the latter shifts towards trendy musical comedy. The fact that it is a school work, with the imperfections inherent in any application exercise, makes it possible to justify this overall heterogeneity, which is all the more marked as it is nourished by the physical evolution of the protagonists between 2019 and 2021. infinite constraints, advantages
By Anton Balekdjian, Matto Eustachon & Lo Couture (Fr., 1h47) with Lucile Balzeaux, Csar Simonot, Mathis Sonzogni
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Films released in theaters the week of November 30, 2022
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