Two years ago Nadav Lapid walked his character from Synonyms in the streets of Paris, where he spoke all the bad things he thought about his country, Israel. In Ahed’s knee, jury prize at Cannes, the director stages Y, his alter ego and this time, this anger explodes. Y, the very physical Avishalom Pollak, and for good reason, he is also a choreographer, lives an experience that Nadav Lapid himself lived: invited to a cultural center deep in the desert to present his film, he must sign a form in which he undertakes not to broach certain embarrassing subjects during the discussion with the public.
The character starts off as a sort of superhero and ends as a human, with all his weakness.
Director Nadav Lapid
In a flood of words as powerful as bullets, Y then expresses all his disgust for what is becoming of his country, where artistic freedom is hampered as much by the authorities as by a deaf self-censorship. Carried by supercharged images, Nadav Lapid summons the violent memories of his military service and the ghost of his mother, who recently disappeared, and who was his editor. A shameless introspection, brilliant and in which he does not spare himself.
Dune is the successful adaptation, that one, of the science fiction classic signed Franck Herbert in 1965. Bet therefore won for the Quebecer who had already succeeded Blade runner in 2017. Dune No longer a cursed film and Denis Villeneuve proves once again that in his complex relationship with Hollywood, he strikes the right balance between blockbuster and real cinema.
Timothée Chalamet has an insane charisma, I had no plan B, it was him or nothing.
It is by remaining faithful to the novel and by focusing on the great sets in the infinite space of the deserts of the Middle East that the director embarks us on this story which stirs up very current issues: artificial intelligence, the decline of nature, religion and geopolitics of drugs; so much so that we see in the coveted planet Arakis, a metaphor for Afghanistan.
In the distant future, Prince Paul Atreides must control Arakis on behalf of an empire that turns against its own people. He leads heroic battles while being inhabited by voices that announce the rest. After Call Me by Your Name and The Daughters of Doctor March, the Franco-American actor Timothée Chalamet appeared indispensable to Denis Villeneuve who saw no one else for the role.
How not to succumb to the charm and talent of Anaïs Demoustier filmed from every angle by director Charline Bourgeois-Tacquet, whose first film is in the image of her main character. Anaïs is 30 years old, not a round, complicated connections with reality, men and life, but she runs, constantly. Too much undoubtedly for the public, but when she meets her lover’s wife, a writer whom she immediately admires, another story begins, deep, sensual, disturbing, which gives Anaïs Demoustier and Valeria Bruni Tedeschi a score that they enchant for our greatest pleasure.