The holidays of a daughter and a father in the heartbreaking first feature film by Charlotte Wells, an isolated chalet in the middle of nature by the master of anguish, and the new opus of Asterix and Obelix by Guillaume Canet… Here are the outings of the week.
Knock at the Cabin by M. Night Shyamalan
Knock at the Cabin brilliantly twists Shyamalan’s motifs to extract from them a form of theoretical substrate: the disruption of the world observed through the small skylight of an old house isolated from everything (as in signs), a succession of unexplained phenomena that portends the apocalypse (as in Phenomena), a family imprisoned behind closed doors (as in signs, The village, The Visit and Old), and a restless meditation on belief (as in most of his filmography).
aftersun by Charlotte Wells
Wells, it will be understood, is less interested in the facts than in their perception. And all his staging work consists in affirming this trembling movement, this blurred point which replays the Deleuzian victory of the time-image over the movement-image, of subjectivity over reality. The most fetishized object in the film is a mini DV camera, which the little girl constantly points at her father in order, already, to probe its mystery. These clumsy video images filmed by a child announce the future filmmaker but above all designate a look – a feeling.
The mountain by Thomas Salvador
Opposing the immensity of the frame to the frugality of its device, The mountain combines the existential breathlessness of Pierre and the apparent fullness of a glacier that is also bloodless – threatened by global warming, its surface area is shrinking year by year and causing dangerous landslides. Unfolding over a cottony tempo, the sequences plunge us into an almost meditative state, conducive to a sensory drift barely hit by the increasingly intense hand-to-hand combat that the character undertakes with his environment.
Read the review of Alexandre Büyükodabas
provincial boys by Gael Lepingle
Never crossing in the same space, very different from each other (singularity underlined by a shooting format specific to each episode, from 1:33 to CinemaScope), the characters are captured in successive portraits, as if to put it better the doubts and melancholy that bind them. Co-written with Michaël Dacheux (author of the pretty Standing Love in 2019), these three short stories tinged with Chekhovian melancholy form a gently wrapped kaleidoscope on the homosexual experience in a rural setting.
only hackers by Gael Lepingle
The sequences are thus edited like half-political, half-magical fables, and gradually draw a whole network of buried dreams that document how an island of resistance can be built. The warning is repeated: let blood spill in the cities, let terror puke.
Amore Mio by Guillaume Gouix
What was announced as the story of a separation then becomes that of a reunion between two sisters who are both close and modest, as if prevented by time which has done its work. It is their relationship or the search for a past and future relationship between these two women, advancing in phases, shyness then insolence allowed between sisters, which gives the story its beautiful depth of incarnation.
Read Marilou Duponchel’s review
A little brother by Leonor Serraille
First carried by a beautiful and singular energy that recalls his first film, Serraille loses himself in a certainly commendable, but clumsy social chronicle defeating French meritocracy. On ambitious paper, A little brother has a lot of desires but struggles to make it into the cinema.
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“Aftersun”, “Asterix and Obelix”, “Knock at the Cabin”: here are the releases of the week – Les Inrocks
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