{"id":19902,"date":"2019-03-13T20:00:01","date_gmt":"2019-03-13T19:00:01","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=19902"},"modified":"2025-12-04T22:37:06","modified_gmt":"2025-12-04T21:37:06","slug":"destroyer-pourquoi-un-accueil-si-mitige","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/kino\/filme\/destroyer-pourquoi-un-accueil-si-mitige\/","title":{"rendered":"\u00abDestroyer\u00bb (Zerst\u00f6rer): Warum wurde er so schlecht aufgenommen?"},"content":{"rendered":"<p><em>Die Mittwochsausgabe des\nKino - H\u00e9l\u00e8ne Lavoyer<\/em><\/p>\n\n\n\n<p class=\"has-drop-cap\">In den Augen von Erin Bell (Nicole Kidman), deren Blau k\u00e4lter als das der arktischen Meere ist, ist wenig zu erkennen. Allenfalls ein Kater und Hilflosigkeit. Als sie aus ihrem Auto steigt und sich an den Tatort eines k\u00fcrzlich begangenen Verbrechens schleppt, ist diese LAPD-Detektivin ein bemitleidenswerter Anblick. \u00dcber die Leiche eines Mannes mit einer Nackent\u00e4towierung gebeugt, scheint ihre Aufmerksamkeit weit entfernt von dem unbefestigten Weg entlang eines Kanals in Los Angeles zu sein. Mit einem tintenverschmierten Geldschein und den Kontakten eines vergangenen Lebens als einzigem Anhaltspunkt begibt sie sich auf die asphaltierten und kurvenreichen Stra\u00dfen einer Vergangenheit mit weitreichenden Konsequenzen. <\/p>\n\n\n\n<!--more-->\n\n\n\n<p>Accompagn\u00e9e de sa voiture et de la fi\u00e8vre propre aux vendettas, Erin, qui tente aussi d\u2019amener sa fille de seize ans \u00e0 la pardonner pour son absence et \u00e0 \u00eatre \u00abmeilleure qu\u2019elle&nbsp;ne l\u2019est\u00bb, n\u2019attend pas. Les images de son histoire, qui tourmentent son sommeil et ponctuent le r\u00e9cit, sont autant de clefs pour comprendre qu\u2019elle n\u2019est peut-\u00eatre pas seulement la victime d\u2019une mission sous couverture qui a mal tourn\u00e9, mais l\u2019agent d\u2019ex\u00e9cution d\u2019un drame qui d\u00e9chira chez plusieurs personnes la fragile membrane d\u2019espoir entourant le c\u0153ur. Pour elle, sans espoir de r\u00e9mission.<\/p>\n\n\n\n<p>Qu\u2019un thriller nous tiennent en haleine, des premiers aux derniers plans, voil\u00e0 une attente bien minimale mais que nombre des films du genre ne parviennent pas \u00e0 remplir tant ils s\u2019articulent autour d\u2019\u00e9nigmes classiques et de r\u00f4les st\u00e9r\u00e9otyp\u00e9s. Qu\u2019il nous fasse vivre une exp\u00e9rience auditive, visuelle et \u00e9motionnelle tient donc de l\u2019inesp\u00e9r\u00e9. <em>Destroyer, <\/em>de Karyn Kusama, r\u00e9pond pourtant \u00e0 ces d\u00e9sirs que l\u2019on n\u2019ose s\u2019avouer (de peur d\u2019\u00eatre d\u00e9\u00e7u) avec subtilit\u00e9. Malgr\u00e9 quelques maladresses qui ne justifient pas l&#8217;accueil mitig\u00e9 re\u00e7u par le film aupr\u00e8s de critiques internationaux.<\/p>\n\n\n\n<p>Non, le film ne tient pas uniquement \u00e0 la prestation de\nNicole Kidman, acclam\u00e9e par nombre de critiques. Certes son interpr\u00e9tation d\u2019Erin\nBell est remarquable&nbsp;: elle parvient \u00e0 nous transmettre la torture du\nregret et le poids de la culpabilit\u00e9. Elle nous apprend \u00e0 conna\u00eetre son\npersonnage qui \u00e9volue entre pr\u00e9sent et pass\u00e9, au gr\u00e9 de <em>R\u00fcckblenden<\/em>, en n\u2019abusant pas sur l\u2019interpr\u00e9tation de ses c\u00f4t\u00e9s n\u00e9vros\u00e9s\nni en annihilant son humanit\u00e9. Mais, outre la transformation physique qui la\nrend m\u00e9connaissable et un r\u00f4le principal sur lequel r\u00e9side l\u2019histoire, le\nlong-m\u00e9trage a d\u2019autres finesses.<\/p>\n\n\n\n<p>Prenez le traitement de l\u2019image et du son par exemple: ils forment un tandem bien ficel\u00e9, coh\u00e9rent. C\u2019est par touches subtiles que l\u2019on int\u00e8gre l\u2019histoire, comme lorsque des musiques d\u00e9butent dans l\u2019une ou l\u2019autre des temporalit\u00e9s &nbsp;accompagnent l\u2019arriv\u00e9e dans l\u2019autre temporalit\u00e9. Comme pour illustrer \u00e0 quel point le pass\u00e9 reste intrins\u00e8quement li\u00e9 au pr\u00e9sent de l\u2019inspectrice (et, en extrapolant, \u00e0 celui de beaucoup, en dehors ou dans la salle de cin\u00e9ma). Echos discrets mais bien lanc\u00e9s \u00e9galement lorsque les lumi\u00e8res de phares ou de feux de signalisations, flout\u00e9s et tr\u00e8s pr\u00e9sentes \u00e0 l\u2019\u00e9cran, font \u00e9cho \u00e0 des \u00e9l\u00e9ments naturels \u00e0 la cl\u00f4ture du r\u00e9cit.<\/p>\n\n\n\n<p>Si l\u2019on peut reprocher quelque chose \u00e0 <em>Destroyer<\/em> (\u00e0 part son titre, qui creuse l\u2019attente de spectaculaire et d\u2019une action bien plus brutale), ce sont les gros plans sur le visage de l\u2019actrice principale. La r\u00e9alisatrice, peut-\u00eatre consciente de l\u2019effet \u00e9tonnant qu\u2019a la m\u00e9tamorphose de Nicole Kidman sur le spectateur, y va un peu fort. La relation d\u2019Erin avec sa fille, \u00e9galement, semble trop effac\u00e9e du r\u00e9cit et fait malheureusement un peu superficielle, quand leurs liens auraient pu d\u00e9nouer encore certaines facettes \u00e9motionnelles du personnage. <\/p>\n\n\n\n<p>Mais \u00e9nigme, suspens ainsi que de belles prises sont au rendez-vous, sans compter la bande originale de Theodore Shapiro qui m\u00e9lange bruits naturels, m\u00e9talliques et basses avec beaucoup d\u2019effets. Il faut \u00e9galement noter que le r\u00f4le du flic bless\u00e9 et vengeur a par le pass\u00e9 plut\u00f4t \u00e9t\u00e9 donn\u00e9 \u00e0 des hommes et que dans ce sc\u00e9nario o\u00f9 il est endoss\u00e9 par une femme le genre ne compte finalement pas tant que cela, ce qui est plaisant. La femme \u00e0 l&#8217;\u00e9cran n&#8217;est pas utilis\u00e9e comme objet marketing mais raconte une histoire, la sienne. Et finalement le d\u00e9nouement, tout particuli\u00e8rement, renverse ce que l&#8217;on avait cru comprendre&#8230;<\/p>\n\n\n\n<p><em>Schreiben Sie dem Autor:&nbsp;<a href=\"mailto:helene.lavoyer@leregardlibre.com\">helene.lavoyer@leregardlibre.com<\/a><\/em><\/p>\n\n\n\n<p>Bildnachweis: \u00a9 Ascot Elite Entertainment<\/p>\n\n\n\n<table class=\"wp-block-table\"><thead><tr><th>DESTROYER<\/th><\/tr><\/thead><tbody><tr><td>VEREINIGTE STAATEN, 2018<\/td><\/tr><tr><td><em>Regie:<\/em> Karin Kusama<\/td><\/tr><tr><td><em>Drehbuch:<\/em> Phil Hayet, Matt Manfredi<\/td><\/tr><tr><td><em>Dolmetschen:<\/em> Nicole Kidman, Tatiana Maslany, Sebastian Stan, Toby Kebbell<\/td><\/tr><tr><td><em>Produktion:<\/em> 30West, Automatik Entertainment<\/td><\/tr><tr><td><em>Verteilung:<\/em> Ascot Elite Entertainment<\/td><\/tr><tr><td><em>Dauer:<\/em> 2h03<\/td><\/tr><tr><td><em>Ausgehen:<\/em><strong> 6. M\u00e4rz 2019<\/strong><\/td><\/tr><\/tbody><\/table>","protected":false},"excerpt":{"rendered":"<p>Les mercredis du cin\u00e9ma \u2013 H\u00e9l\u00e8ne Lavoyer Dans le regard d\u2019un bleu plus froid que celui des mers arctiques d\u2019Erin&#8230;<\/p>","protected":false},"author":326,"featured_media":19903,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[644341146,644341351,14228,644341353,33171116,644341352,172496,11183],"class_list":["post-19902","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-critiques-cinema","tag-destroyer","tag-drame","tag-erin-bell","tag-film-policier","tag-karyn-kusama","tag-nicole-kidman","tag-thriller"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.4 (Yoast SEO v27.4) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ 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