Remake, prequel, sequel, spin-off: these neologisms are all too familiar to contemporary audiences. Whether at the cinema or on platforms, films and series recycle the recipes of the past, a sign of an age that doesn't know how to reinvent itself.
Like no other genre, the Western reveals the extent to which the United States is focused on itself and its past. Each film is like the umpteenth self-therapy session, often navel-gazing - and increasingly repetitive.
The Californian rock band unveils a new album and sets off on tour again, seven years after the death of its charismatic leader. A return to their roots that seeks to (re)conquer their target audience: millennials who have lost their bearings.
«Leni Riefenstahl», the umpteenth documentary about the German film-maker, explores what might have driven such a brilliant artist to place her talent at the service of the Nazi regime.
Simon Buisson, who has already won awards for his Stalk series about online harassment, has created a feature-length film on the same theme - while introducing a broader reflection on an ultra-connected society where the private sphere is fading away, to the point of disappearing.
Zoe Kravitz's directorial debut, a psychological thriller, is a scathing denunciation of the «toxic masculinity» of billionaires. It's reminiscent of Jordan Peele's first opus, which used the genre to tackle racism.
Alexandre Dumas' novel is brought to life in this spectacular period film, which combines the best of two worlds: the beauty of the French language and the visual mastery of Hollywood.
«Civil War», a dystopian tale of a modern-day Civil War, was billed as an analysis of contemporary fractures in the United States. But its message goes far beyond the political and media brouhaha and American obsessions of the moment.
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