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Never Let Me Go

Go see Never Let Me Go is like testing his strength, his little heart all soft. Because it has from the trailer, the intimate conviction, reinforced by the opening sequence of film, attend a sad and tragic that nothing can save him from drowning tear. With this certainty, it remains the film to reveal its mystery, that already drilled from the same trailer and this first sequence. What is he therefore the vast English countryside stretching pell-mell on a winter drizzle and a truth of the great conspiracy? The interpretation subtle and motley trio of actors, real young guard of American cinema and English displays his talent on a script with conviction yet smooth.

Adapted from the novel " always near me" in Kazuo Ishiguro by Mark Romanek , Never Let Me Go hollow identity of cloned three young men in the early 70's to become donor organs. They are raised away from view in a school run by the always troublantedans the sole purpose of being programmed to one day be ripped open, sacrificed for the survival of others. Any narrow philosophy of the film tends to wonder about the value of a life on the packaging too, because unlike many science fiction movies, generation by oppressed accepts his fate with a startling docility, she accepts it because she did not realize that there are parallel tracks. As she appears resigned as the youth in the flight of the stolen love by jealousy, thinking this girl at heart we plunge choices, sometimes independent of our will, that led to our relational experience. Amidst this bitterness perfectly highlighted by the dull photograph and postcard of three decades become embedded into each other connected by the evolution of car design, three struggling actors superb. Carey Mulligan , perfect from start to finish in a game minimalist grandeur, his silent tears streaking his face intelligent remain long in the cinematic imagination. Keira Knightley then interpreting the character in the hysterical excesses, yet just the opposite of what one might expect of her. Andrew Garfield finally playing a slightly older child remained with handle and resignation.

While each intervention is underscored by music with lots of violins, their faces express the conviction that their flexibility is low, the players really take their game and raise the film the story to interest. It is also true that the film oscillates between fairly interesting science fiction and old-fashioned romantic drama, it moves us undoubtedly make us who we are and that before us lie on the table jellies hospitals but outside these outbursts and transient instant rebate brought into question by the radiantly melancholy face of Carey Mulligan, it will store energy in a curious achievement driven primarily on emotion, as if she was alone vector of reflection.

Released in Belgium: 30/03/2011

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Liberty Leading the People

needs no introduction Eugene Delacroix ( portrait by Nadar left)! We owe several famous paintings including the famous "Liberty Leading the People".
Since the revolt of wind blowing across the Arab world, historical and formal analysis of this table is entirely about even if it refers to a French reality.
To put the achievement of this pictorial work in context, I invite you to follow this link by clicking here
To access the formal analysis of the table, it is wise to follow the animation and sound subtitled here

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Winter's Bone ** *** ** True Grit

Laura Palmer is alive! Lynch had not lied to us, it was well past the other side of the red room, where a midget talking backwards. The turning Tronches Broken Bone Winter's here she opens the door of a home where a representative panel of the American heartland hit the card and Dolly Parton sings on the banjo strumming. Sheryl Lee , the actress who plays Laura, the necrophiliac fantasy of a generation who discovered with Twin Peaks that television could exceed the cinema. Laura's body found wrapped in plastic beside a river, dead as innocence, found an outlet in Winter's Bone. Yet there she made a quick appearance, but its role responds strangely to that of Laura Lynch.

It is also in question Winter's Bone from director Debra Granik , an innocence under strain. Ree Dolly ( Jennifer Lawrence) lives in a forest in Missouri with his younger brother and his little sister whom she works full time, her mother prostrate on a sofa is down, a victim of trauma brain and behind his father in prison of a past trafficker. When she learns she may be expropriated because he just paid his bail by mortgaging the family plot, she decides to go looking for him. Unfortunately in the hometown person No one has seen the faces decayed close even when it pronounces his name. In unearthing the truth, Ree will face severe problems such as Laura and Twin Peaks pay his effrontery.

Halfway between a novel by Erskine Caldwell and Issuance of John Boorman , Winter's Bone rancid smell of misery and despair of an America bent on itself. This one even scary when you see her around and feeds the fantasy of incest and bestiality, cowboys and loggers gallows at the wheel of their trucks, shotgun under the passenger seat, a resident of dilapidated old farmhouses on which snort of starving dogs. At the rear of the barns, torture chambers, cellars oozing where women even more ferocious than their husbands alcoholic amochent faces pure rummaging through their trash. There is in Winter's Bone , not an escalation of the grotesque, but a search of the infallible truth choking in mud rather than abandon this path and cross is perfectly embodied by Jennifer Lawrence, she offers her his only escape character, the strength of despair, infallible stem wind that accepts his fate as she enlisted in the army. All his choices are also inconsistent, they are motivated by that, survival. You must see spit at the foot of a man and the next scene his family deal with infinite tenderness just crumble before her beautiful shell before the lifeless face of his mother from whom she asks for help, just once mom. And yet how powerfully she checks out the opacity of the lake, the hands of the issue while his tears were drowned in the din of an electric saw.

In the gallery of wonderful facial injuries that gin this movie test be insulated with joy the new Denis Hooper in the person of John Hawkes , whose interpretation sometimes terrifying, sometimes protective be as sharp as the barrel of a gun. Incredible scene face to face in a dark night through the rearview mirror of a car. The film is also brilliantly staged by Debra Garnik, who did not sign there that his second feature film. In each sequence, despite the constant tension and escapes the camera captures the details of a significant beauty, she reminds the theatrics of Terrence Malick : oil, carcasses of car, statuettes of children lost in landfills, the faces of dogs or a small film in black and white squirrels fleeing deforestation. There is no dead time in this epic, the simple accuracy of a work that does not say too much, not doing too much and do not pay into sentimentality when he held out his arms. Winter's Bone is a film of raw beauty.

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Always one to make a ton with the Coen brothers ! Each year, the same old story, it seems they have spawned a new masterpiece. It is clear that there are still countless serious turnips in their filmography. In general, the Coen Brothers are tackling two types in particular: the film noir and comedy. They are also much more relevant in a genre that in the other. With the exception of The Big Lebowski , we must recognize that Fargo, Blood Simple and Barton Fink far outweigh the Intolerable Cruelty , Ladykillers and Burn After Reading . With True Grit, one would think they have ventured to address a different kind, the sacrosanct Western, this is only half true. Adaptation of the eponymous book by Charles Portis already filmed by Henry Hathaway (1 00 dollars for a sheriff ), True Grit borrow at Western that the formal structure, but basically it s 'acts mainly an excuse to throw some good jokes that the two troublemakers are fond. Grocers in good they are, the Coens we sell a product so that is not one, but that leaves eaten with pleasure. Finally no matter what you eat as long as it's good.

Splendid scene input, the camera zooms in relentlessly raped by a dark-yellow light of a glowing fireplace is the door of a house that lets the filter. At the foot of the porch, one discovers the lifeless body of a man whom we learn has just been shot by his groom. In the dark, snow falls diaphanous. This prologue also respond to the penultimate scene of the movie where the light of a lost home in the dark will come to embrace the latest breath of a young girl and a sheriff exhausted by last ride against death. Mattie Ross ( Hailee Stenfield ) is determined to avenge the death of his father from the top of its 14 years. With a plumb unprecedented in the history of cinema for a girl of that age and a fairly powerful diatribe, she will persuade the bounty hunter from the corner, an old drunkard eyed Rooster Cogburn (Jeff Bridges ) to go pick her killer Indian Territory where he was holed up with his gang of thugs. What follows is therefore a long crossing of scenery and rides horse interspersed with encounters with one particular and rather awkwardly recalls that of the Indian poet Dead Man . The duo is a trio when Texas Ranger mingles with the prosecution, tasty Matt Damon which contradicts all the evil they thought of him, but the role of tenure under-operates somewhat tasty cons Employment of remained.

In effect it is comedy in True Grit. Each scene is shot in this direction, to cause laughter, stress, slashing commissures and exercise tips and trick redundant. Jeff Bridges and redoubling of glances, of uprisings eyebrows and dazed tunes to evoke surprise or suspicion, however, it is in unison with the 'potacherie' invented by the Coens. The genius of the replicas is enhanced by the brilliant performance of the small Stenfield Heile, only 14 years, a fine career ahead of her. This is not given to everyone to snuff Bridges, Damon and Brolin in the same film. The Coen giggle, unfortunately dint of playing too much spin with this delicious, one that sees a child having more guts (grit) as adults, they end up neglecting other aspects of Western, namely the epic (this is not a few races that can gallop the vent), the dramatic tension (the death of the horse blackie looks straight out of a novel by Walter Farley), the symbolic issue. Even if it takes the codes of the Western classical and essential Manichaeism with a credible villain played by actor Barry Pepper only true face of the film, he can not help shedding a little parody with second Approximate roles and a voltage hungry to show the sad final scene where Marshall faces four bandits, they are far from Ford or spaghetti Leone. Diverting tale Carroll, little Mattie / Alice discovers the adult world by killing what has to mean that they fall into a pit full of snakes and rotting corpses. Including vigilante is no act without consequence, it is grunting his memory amputated arm with which she suicide. Moralizing the Coen brothers, but not see you ... Some grocers were told, armed with some know-how and a sacred gift of the gab.

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Santiago 73, Post Mortem ***

It's been two weeks since the Chilean film Santiago 73, Post Mortem was released in French cinemas. I guess he will not stay very long in theaters. Yet it is a very special film, original and deeply disturbing that I could recommend you too. Located in Santiago de Chile in 1973, the plot takes place against the background of the coup against Salvador Allende. Mario (the terrifying Alfredo Costa ) is a small, taciturn officer, whose dark and is suspected to feel worse formalin or bleach. He works in a morgue as scribe of the coroner, he spends his days in hand to review the autopsy reports conscientiously and to retype it in the evening at the machine. Mario is in love with her neighbor Nancy ( Antonia Zegers), a cabaret dancer in decline, his chest falls and scares her thinness. That evening, she sympathizes with the coconuts on the corner by holding meetings in his room dissent.

In Santiago 73, Post Mortem , Pablo Larrain young Chilean director, already noted for his previous film, T ony Manero , will transform the immensely painful history of his country and the bloody coup State orchestrated by Pinochet against Allende. He will immortalize frozen into a painting of terror where blue hues of the mortuary and its corridors littered with bodies will marry in a maelstrom morbid with the colors green lanes in the suburbs where Mario lives. Suburbs devastated ghost town where the hunt for communists turned into a genocide organized the protest. To give this shade so particular to the screen, Larrain has not hesitated to use the objectives of the Russian era. Off-field or fixed plan naturalistic staging of Larrain is a work of craftsmanship, a slow building of horror, as in viral transmission, will perniciously stifle and destroy the humanity of Mario. He, the worker who pulls carts lifeless bodies cooled to room of the hospital. He, the quiet man who cleared and finds the strength to say to a depressed and Nancy's stinking smell of alcohol it is the most beautiful thing he's ever seen.

The most amazing in Santiago 73, Post Mortem , this achievement is subtle, almost burlesque is always waiting for the viewer and his intuition in the rear. It serves a scenario that uses powerful intelligence metaphor-cons as a weapon of propaganda. The desire for love with his neighbor Mario is indeed the metaphor of this country who wants to conquer a socialist ideal, desire is caught in the teeth of a violent junta's bloody power. And through the character of Mario, played wonderfully by Alfredo Costa, incapable of being loved, handled by his object of desire (you must see this handjob scene in a hurry when the body of Mario saw back bends under the weight of humiliation can be issued without any resistance), will become like his power, a vehicle for violence. A man who will seal the memories of the past under tons detritus.

Released in Belgium: 16/03/2010

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Women's 6th Floor ** *** The Fighter

Pleasant comedy fresh and light, refined, well-written, especially outside of the box that ^{Women, 6 th Floor} . The film cleverly confronts the Parisian bourgeoisie tight ass 60s to his English maids who, after deserting the Franco dictatorship, rediscovered a form of modern slavery which they will eventually overcome. There, where most movies perform a vertical ascent from the popular class to raise the bourgeoisie, Philippe Le Guay , the director, takes on him the perfect foot-cons. He chose to bring his protagonist Jean-Louis Joubert (Fabrice Luchini ) to experience the same conditions as used in Spain. Staying in an attic, too, 6 th floor of its building, it certainly stands physically but symbolically to a reflection on the nature of social positions and the meaning of his own life, the reality of already acquired no longer has any flavor.

Jean-Louis Joubert is a stockbroker in the regular life like a pendulum, relishing his hard-boiled egg perfectly cooked breakfast, whose dull life has stifled the ambitions of a generous life. He is married to Suzanne (Sandrine Kiberlain ), his wife brainless figurehead constantly exhausted from doing nothing. On the death of his stepmother, the latter fired the maid of all work that was part of the furniture and dust to engage Maria (Natalia Verbeke ), a young maid English freshly landed. This, then, very fashionable. The rigid Jean-Louis Joubert will obviously fall under the spell of this proud beauty (it is easily understood as English actress from Argentina is steeped in sensuality). But where good numbers of scenarios would have yielded to the sirens classic boss who wants his employee and to submit its position as the recent The Housemaid , and thereby feed the river of images and sequences telephoned , Women ^{of 6 th floor} surprises again ... Here is the boss, obviously motivated by a sexual purpose, and it's pretty honest and intelligent as the present, will gradually integrate the world of maids pushing irony to move into one of the attic next to them. Maria lives in the company of six English friends and aunt Concepcion (Carmen Maura excellent - Free Zone, Volver, Tetro ), in small rooms good on the top floor of the building where they all work as housemaids. It is a microcosm there and swimming only survives in a good mood chosen by the director. The class struggle is less savage than in films such as Gosford Park of Robert Altman even if it is defended by one of the actresses. In wishing Maria Joubert will discover a universe of which he will feel closer and he will be keen to protect. Nothing will ever tell us if it's not pure altruism or self-interest and that is where is the intelligence of the particular film.

slight caricature is tasty, the humor of a rare delicacy emphasized by writing always fair, staging original without being really successful in that it provides actors the space needed for express their talent and apart from a few anecdotal roles, such as the co-worker, most of secondary roles are great. We discover a sense of family in this 6 th floor and evoking pathos with ease and without the difficulties encountered by expatriate women, Philippe Le Guay tribute to them and opens horizons for those who still doubt that expatriation is not a choice but a necessity and it also responds to a request and always arrange that a lot of people including those who criticize. The conclusion most fictionalized film will delight lovers of cakes and cocktails without alcohol, with a promise conclusion without a hangover.

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The Fighter is it a new boxing movie as there are already hundreds ... We remember Gentleman Jim , Ragginger Bull, Rocky , Ali, Million Dollar Baby ? Boxing is arguably the sport most widely represented in film and it is easily conceived as the ring, this square space grid and open to panoramic, is conducive to the camera movements that revolve around the actors like raptors over a carcass. In 1894, Edison's Kinetoscope also testa (an early film projector) during a boxing match. This enthusiasm also stems from the scope of the narrative story of a boxer, a man who has often been extirpated from its industrial environment, as here on the outskirts of Lowell (Massachusetts) used to be the birthplace of famous spearhead of the Beat Generation Jack Kerouac , found fame fleeting and eventually into oblivion the crooked nose and face streaked wounds. As Roland Barthes said ' What is thus delivered to the public, the great show of pain, defeat and justice '.

To interpret a boxer, Philippe During recalls in his book , you must become a boxer, to acquire the physical ability, transforming his body, making it dry or deformed as De Niro in Ragginger Bull , expand it and shape it. Under the camera of David O. Russell (Three Kings ), Mark Wahlberg has managed this feat. He became Micky Ward, a famous boxer in 90 years that atypical drop your arms even when he was a second-class boxer and managed to tu peaks. Wahlberg moreover always wanted to bring this story to the screen. To do this, he did not hesitate to train for over three years. Result: it is credible and blows on it is far from slapping movie banging in a vacuum. To prove this splendid final scene that mimics the dodging loan, the real fight against Shea Neary for the title of world champion WBU. A boxing brilliantly filmed, without slowing, without bluster, it's pretty rare to be underlined.

The Fighter includes all the features such as: dense form of film noir, aesthetics glaucous, suburb, melancholy, colorful entourage, for pathos, but it also moves away because he does not do its main subject. He speaks more than a family fight, more love than sports. It is above all a great story of friendship between two brothers united to face the pain. For his career, Micky Ward owes mainly to his brother Dicky Eglund ( Christian Bale), a former boxer took from hell crack and genuine local celebrity who had been in his time, the privilege to shake the great Sugar Ray Robinson. While everyone he advises Micky insists that his brother continues to lead even if we go back in the infamous slums where he surrenders to dependence. Micky Ward is in awe of his big brother and is junkie does not alter the case. It stays straight and stoic in the position of the listener's voice, it was dementia. What about Christian Bale, extreme makeover, he had to lose 30 pounds for the role, changing his voice, his accent, to reinvent the gesture of another. It is phenomenal, so much it completely displaces Wahlberg and he should really have won the Golden Globe for best leading man and obviously not that of the second part. It's a real surprise (to us) and revelation. Without ever taking her character in the trenches of ridicule, exaggeration and pathos, Bale signed a memorable interpretation.

The atmosphere of the film, though it owes much to him, is also supported by a wonderful group of actors, the mother figure intrusive, dictatorial, alcoholic and an inveterate smoker is played by an actress amazing Melissa Leo, who also, she also won the Golden Globe for best supporting actress, actress Amy Adams in the role of the girlfriend authoritarian and 7 sisters improbable hairstyles, fringe, puffs, curls and discoloration of all kinds, delicious. All carry the film to a level that exceeds the mere mention of a destiny of 'Just Do It' (for documentary evidence that Dicky imagines to revive his career and that will only expose the dangers of crack) there is going to a social satire, the painting of an era that is reminiscent of the New Hollywood American cinema of the 70s Scorsese, Coppola , etc ... Lucas The staging was to be assigned prior to Aronofsky before he politely declines is a rare sobriety, d a gritty realism that does not pay into caricature and that splitting of one aspect documentary manages to capture the peculiar humanity of these men touching self-sacrifice and humility. The few lengths of the film will evaporate quickly in the memory.

in France Release Date: 09/03/2011
Release date in Belgium: 30/03/2011

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Sex Friends

Coincidence outings, Sex Friends (No Strings Attached ) arrives on the screens a week after Black Swan . The heroine of these two films is none other than Natalie Portman , the frail and ill doll tossed into madness masochistic Darren Aronofsky here Emma is a young intern who dreams of relationships without fasteners. Two films in the antipodes. One offered her the best role of his career, a physical examination, neurotic, visceral sound an actress, the other kids with mild romantic comedy that serves us and chewed each year on Valentine's Day.

To distance itself somewhat from the thousands of films that deal with the romantic comedy and the storyline always respects the red following classic: meeting unlikely - young love - impossible to achieve lasting love - break (with key pee other partners that do not) - Reconciliation - marriage, Elizabeth Meriwether writer chose to build his dialogues with a lot of expressions contemporary refined because today people talk frankly about sex and love. And the least we can say is that it starts strong, Adam (Ashton Kutcher ) aged 15 years then moved a finger to Emma at a summer camp, which she politely refused. Throughout the film, these phrases are strung tasty delight for the ears' Where are you? " text messaging application (modernity = iPhone, Twitter and Facebook), a friend suggested Adam to answer 'in your pants'! A good point, however, for special playlist with menstruation Even Flow Pearl Jam's opening range.

The story also noted that the dialogues that compose it. As we work more to earn more, we have no time to love, to invest ourselves and put the plaster on wounds because our loving, you know, it's a job in itself. So young, my good woman, then they kiss and if possible with friends like that they avoid crises, explanations, post-traumatic periods in which they swallowed the chocolate matting TV. Emma Adam proposes to review it for the fourth time in fifteen years to become her friend fuck. It is handsome, tall, very nice and pretty good in bed (the scene for evidence of heartfelt donning the hood, where he demonstrated great skill and a sense of the very realistic). It imposes rules for the sole purpose of not concentrate because in fact it is very fragile inside. It follows, it is contemporary, the guys now do not offer anything, they accept docile figures of junk.

To make the plot a bit demonic sexy sexual failing was obviously made Adam the son of a wealthy producer of TV series that taps former his son (portrayed by Kevin Kline a full rant). The decor of the film then becomes infatuated pools and sumptuous booths and old vintage WB Round 5 in LA away from usual standards. Adam worked as an assistant on the figurehead shooting a series that looks like two drops of water Glee , but is secretly a talented writer whose work will eventually be discovered deep. For his part, Emma lives with her roommates in an apartment house they occupy only very rarely because they replay Grey's Anatomy the local hospital. Moreover, we find Greta Gerwig pleased ( Greenberg ) in the role of best friend. Otherwise everything is there, the black boyfriend, the boyfriend gay, lesbian scene, marriage, burial and the happy ending. Ivan Reitman, the director, was a skilled craftsman. He has framed his characters who defended themselves as best they could with their poor pathetic replies. 'Tonight we are the hotties'! If at least the realization had dared to be so raw that the dialogues, we would have something to put under the order.

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Choosing Luna (Na Putu) * * Morgen

Luna and Amar love passionately. Proof, if one is necessary is to read on the face of Luna (the beautiful Zrinka Cvitesic ) in the form of a radiant smile of pleasure. Sitting on his chair stewardess (which faces the other passengers) in takeoff and landing, an imperceptible movement of the commissures it illuminates the complexion as she loses her eyes in memory of snoring touching Amar ( Leon Lucev ). She is happy, almost filled, he is left with the hope of seeing her belly rounded, to grow permanently. Yet the heart of the idyllic wheel, a grain intrudes. Amar is fired from his job as an air traffic controller because he drinks in lousdé during the service. Being an alcoholic after the trauma of war, This Is Not a big deal, the problem is probably that it does not help his lack of fertility. The obstetrician said a healthy lifestyle, fruit, lots of walking and certainly no smoking and no alcohol '. Amar poor, his life will become a nuisance ... Then a fortuitous accident, he falls on Bahrija, a fellow war who converted to Wahhabism or Salafism (it depends on your point of view), movement somewhat radical Islamist sum. And as it is a bit lost and without a job, he accepted the invitation of Bahrija (whose song splendid invitation to prayer reminiscent of the lyre spellbinding) to join a camp on the banks of a lake (which looks like a camp of hippies, the separation of the sexes as well) where he will find faith and change radically. A little too much for Luna, who is struggling to admit to his return.

Jasmila Zbanic , director already known for Esma (Golden Bear in Berlin in 2006) established by its main subject, namely a couple who sees religion to undermine his achievements on the backdrop of a bloody conflict that Bosnia has not yet done grieving. Luna and Amar are two war orphans, non-practicing Muslims who live 200 miles an hour a life they know only too well the precarious. And to describe their reality by contrasting it with those of Muslims claiming to be an Islam more attached to the letter of the Koran, we can not say it bothered subtlety. The comparison between the different groups who claim the same religion is Manichean overall architecture. On the one hand, Luna sensual and sexy the other ninjas taped in black, tough and respectful of the laws governing relations between men and women, bent at customs that practice segregation. For Luna, the geographic view of love, made of distance and borders is inconsistent with what she feels for Amar. On one side tolerant grandmother Luna celebrating Eid surrounded by pagan chants and smell of alcohol, another Imam who marries a man with a minor.

course Jasmila Zbanic has the merit of not too stigmatizing a group over another, but they will quickly understand that it (taking twice as Luna) really does not approve the Salafists who see the genocide suffered by the Muslim people between 1992 and 1995 the translation a divine punishment or consequence of a liberal application of the Koran. At the cost of staging dynamic editing but overall extremely square, it distills as a first time, tremendously well the essence of the relationship between Luna and Amar is believed sincerely in love and we are curious to see how it can evolve. The second part of the film is much more disappointing because very predictable. Amar, the poor alcoholic finds refuge in fundamentalist Islam, it is transformed, different, do not sleep over with his wife outside marriage, refusing artificial insemination outside of marriage too. All this is packed quickly and not really justified in detail. Too much focus on the reactions of his unique actress, director forgets to feed the plot depth. Remains a wonderful interpretation of Zrinka Cvitesic with hazel eyes and smile light up the wonderful love affair from start to finish. The religious fable is much anecdotal though it is the true subject of the film.

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Romanian cinema is, like the German cinema is booming. What is sometimes dangerous. Because we see so inevitably land on our screens all that bears the label of the new Romanian cinema. And whether good or not, the press shout loudly with pleasure before the film cinephile most innocuous. Morgen first feature film from director Marian Crisan is one of those films that are riding the wave that began with the Romanian Palme d'Or director Cristian Mungiu in 2007 4 Months, 3 Weeks and 2 Days . Carrying on a subject of immigration in a Europe without borders, Morgen discusses the issue of how ludicrous by association with a slow formal invites more somnolence than enthusiasm.

Nelu ( Andras Hatház ) is a guy who spends his time kowtowing to accept what he said without complaint with a fatalism close to outright passivity. He works as a security guard at a supermarket in Salonta, a small town on the border of Romania and Hungary, and uses his free time to fish in horrible rivers like sewers when he secretly dreams of becoming deaf not to hear the rantings of his shrewish wife and dissatisfied. It is a type one imagines shot without any control, without power of decision. Yet when he stumbles across a clandestine Turkish (Yalcin Yilmaz ) that seeks to cross the border to join his family in Germany, he will show some poise and courage even a surprisingly humanistic. It will indeed offer the man with whom he can not connect to come live with him finally in his basement at first. It will feed him, give him clothes and even try to find him a job ... all in perfect inequality. Because in addition to having a pathetic life, the poor bugger has continued since the beginning of the film by the immigration police (superb prologue full day in a cons-dawn). Whatever he hides in his sidecar, either a man or a carp, everything is stacked against him.

Initially Marian Crisan sets the scene with subtlety. It describes the daily depressing Nelu lost in the midst of a ruined farmhouse. Nelu which can be considered a follower is often framed from behind, the camera glued to his neck clumsy. By day, plans to incorporate into the decor, the image is static, always silent movement. The staging is minimalist and sleek'm fashionable and is often the preserve of a copyright film says, we must honestly admit that it may be completely off-putting when it is long term or whether makes it a figure of speech. The bias Marian Crisan which is to use two specific frameworks for the duration of his film is also its pitfall. While it is obviously an intention, it does eventually we find the time to observe long Nelu ruminating his project sitting on a chair.

For a good follower of procrastination, it still recovering after the trip to Hungary. Is that now he has found a friend with whom he beats the card, cutting wood and repair the roof. And more as he does not understand a word of what he says (and neither do we because it is not subtitled), it would have a hard time arguing with him or take a dislike to this illegal immigrant is portrayed as a good guy a bit cheesy. This is of course these scenes dialogues that bring their share of slapstick and alleviate the theme of the film which then overflows the side of the story. It must indeed rise to the level of the story to believe in this story where a man receives another home when he was already struggling to live with another living species than the dog.

The tale avoids the moral lesson in the finale of a pretty pirouette stressing the ability of men to annoy their neighbors supporting the vitality of their own transient existence.

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Against you

In Against you , Lola Doillon, the daughter of director Jacques Doillon , revisits the Stockholm syndrome in a camera light which clash and intertwine Kristin Scott Thomas (Anna) and Pio Marmai (Yann) . She is an obstetrician gynecologist. He lost his wife in childbirth. According to him, she made a mistake. For this reason, he kidnaps her, the receiver and threatens to kill him. Her cold, lonely, proud and arrogant. Him, fearful, prostrate, already plagued by guilt. In what may look like an exercise in style, the director will explore the ambiguous relationship that binds the victim to her kidnapper.

We obviously look back at the top of the genre, The Crying Game of Neil Jordan in 1992 when Forest Whitaker fell madly in love with the companion of her captor and then we proclaimed one of our greatest slaps film which even today it remains an indelible feeling. Buffalo 66 also in 1998, the masterpiece of Vincent Gallo and also the wonderful Atame of Pedro Almodovar, who saw Victoria Abril fall into the sadistic nets of Antonio Banderas in 1990. If one were to compare against yourself with these three monuments of 7 th art, Lola Doillon's film certainly suffer from the comparison because it never reaches the devastating poetic dimension of his two predecessors. Against you, which takes place largely in a room where Anna is sequestered installs a psychological atmosphere rather sneaky and after a subtle division where time is clocked between the inputs and outputs including Yann you quickly understand that no has no intention to kill his victim. If the director lingers on his motives, they are also promptly made naked. The value of staging is to bring any attention to Kristin Scott Thomas and his possible redemption. She has this ability to stay extremely calm and it's pretty amazing not to be described in tearful hysteria, although she tries to rebel but still timidly. We observe its slow metamorphosis, its ability to find her in this drama of humanity. Mostly motionless, waiting for Anna that something is off. When least expected a very strong scene, and absolutely not free because it requires a change from concrete reality, we nailed to the seat thereby breaking the thread of a controlled hatred. It is through violence perpetrator and victim comfortable and break the unity of their static relationship. Then he tried to break it, Yann offer finally to Anna everything he needed, and daily attention, he breaks his shell and feels his feelings. Once freed from his prison, his social selfishness, Anna will be able to love ... The second part of the film is more anecdotal although she gave birth to an end more or less surprising when one considers that the positions of love executioner and victim are reversed.

What particularly attracted the attention is the fineness of the staging that manages to constantly renew the enclosed area of the jail and seize all the crescendo of anxiety relationship. If the beauty of the framing is also to stress, they say minimalism surprising, however, they are as varied as the multiple ways to wear the look on the object of obsession. Outlook of those who denies freedom and protects against self look as the viewer becomes an executioner in turn, hence the strong impression of desire that we capsized. The most successful of Against you is certainly this one, we have associated the camera, we have invited the heart of this walled room where Anna has proven to herself.

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** Nothing to declare

son of a French and a Belgian, a Belgian national, currently residing in France, I admit I was curious about discovering the latest film Dany Boon , Nothing to declare. The idea is funny, two customs, one French and one Belgian forced to team up in a flying customs at the disappearance of European borders in 1993. The fascination of the French pseudo-comic for the Belgian has always intrigued me. It is above all the persistence of stereotypes and humor schoolboy jokes about the Belgians who calls me from childhood, especially when you consider that most French people have an overly fragmented in Belgium and said that a minority of Belgian suffers from a large complex of inferiority to their neighbor hexagon. I speak of a minority because it concerns only 40% of the population (the Walloons), the Flemish do not care solely of French. Car and Dany Boon is not supposed to ignore it, there has always been and it's even more true now, two Belgium. Need I remind you that Belgium has not yet managed to form a government so that elections were held 237 days ago!

The director has not wanted to do a history course, he limited his explanation to Leopold I, first king of the Belgians in 1831 who married second wife the daughter of Louis Philippe. A single sentence will be pronounced and unfortunate in Flemish on the duration of the film. By cons, we will be entitled to the hackneyed a fried once ', drafting Belgian accents that always end up looking like near and far focus Brussels forced deep and persistent stereotypes. The funny thing is without doubt the origin of French fries. Credible theories argue religiously she was born after the revolution under the bridges of the Seine. His story is that Boon Customs perfect excuse and a springboard for a series of gags and generally undignified located at the belt.

The scenario Nothing to declare is as flat as the terrain of Belgium, unfortunately there is not much to say. There is about a drug trafficking which from France to Belgium, which is also highly unlikely. Mathias Ducatel Boon who camps, the French customs, is in love with the sister of the Belgian customs Ruben Vandevoorde which is in turn interpreted by Poelvoorde, a type hateful, excessively racist, just like Walt Kowalski, a veteran of the Vietnam War to Gran Torino . Structure could not be more classic then two guys who hate each other and are forced to team up. Poelvoorde, whose performance is the sole interest of the film is particularly reassembled and spends his time yelling, he's in his expressions facial some magic and we will regret it starts this famous sabbatical as he announced that he is tired of all the folklore surrounding the promotional release of a film. And with nothing to declare , it was served. Dany Boon indeed a substantial budget for communication, even the Paris-Brussels Thalys has been decorated for the trouble. This is obviously a film more commercial than artistic. Boon wants repeat performance Sticks and that the expense of more basic concern for staging.

Most unfortunate in this film is not so much that most actors go completely off about them, especially Olivier Gourmet, rather ridiculous as a priest, Francois Damiens covering all ticks sketches of Francis' confuses and especially the actress Julie Bernard that plays like a quiche and without speaking French Cast only saved by Karin Viard . Not the most regrettable is the complete lack of realization. The images are of incredible ugliness, succession of close-ups where the cinematographer seems to have fallen asleep as the legions of fuzzy, there really is no aesthetical as if Boon relied on talent Poelvoorde asking the camera to him. It's heartbreaking because it will probably the only movie that many people will go see the movies this year and it has absolutely nothing to film, he is lazy and hopeless. It is based on an idea rickety and did not budge, never try to overtake. Moreover, it gives birth to a depressing moral failure on Europe and its integration fantasy. Worse he accepts the immutability of racism in its ability to move from one topic to another. And all this by making it the prerogative of the other precisely, the Belgian, "that is comfortable and relatively inelegant.