After *Bohemian Rhapsody* and *Rocketman*, yet another musical biopic—and arguably one too many—is hitting theaters. *Music of My Life (Blended by the Light)* has the merit of not telling the story of the artist in question—Bruce Springsteen—but rather that of one of his young fans, a young Pakistani student in Thatcherite England of the 1980s. Unfortunately, amid all the saccharine sentimentality, this unique approach ends up being its downfall. Our take.
In Cédric Kahn's new film, currently in theaters, Catherine Deneuve plays a grandmother who wants to celebrate her birthday surrounded by all her nearest and dearest. But that's without counting on the fact that family is hell, as someone else might have said.
Les mercredis du cinéma - Jonas Follonier In Partridge, comedy and surrealism mix in an original cocktail....
Twenty-one-year-old Mélanie and her parents have decided to commit assisted suicide together, following Mr.'s cancer and Mrs.'s inability to continue living without him. With Radio Nostalgie playing in the Lausanne tee-room where she works as a waitress, Mélanie tries to mourn. She's trying - which is no mean feat. Everything now refers to her as dead or undead. The city is populated by spirits, the same ones that the young girl she used to be used to ward off in her nights. She begins a relationship with a young man, David, who in a way serves as her mirror and healer.
The editorial staff of the webzine created by Malick Touré-Reinhard in 2016 will join Le Regard Libre magazine on September 1.
The ninth film by American director Quentin Tarantino—which almost makes one think of his tenth, as-yet-unreleased film, which is said to be his last—stands out as a true masterpiece. Rife with references to cinema, the highly anticipated *Once Upon a Time… in Hollywood* is a quintessential Tarantino fable.
Metin Arditi's latest novel, Carnaval noir, was released in August 2018 by Editions Grasset. Telling a suspenseful tale of the eternal return of human folly, it can be read at any time as a warning. And it could well be that our era is not immune to some infernal carnival.
With «Midsommar», director Ari Aster reinvents the codes of the genre by setting his horror film under the Swedish midsummer sun. Color, drugs and Nordic songs are the order of the day for this entry into a Swedish cult.
Patrick Bruel's «c'est ouf» (it's amazing!) and leaps into the air are almost reminiscent of Maître Gims. Worse still, his famous false modesty still sticks to him - that's the second downside.
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