{"id":41050,"date":"2021-06-19T06:00:00","date_gmt":"2021-06-19T04:00:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=41050"},"modified":"2025-12-04T22:25:07","modified_gmt":"2025-12-04T21:25:07","slug":"first-cow-kelly-reichardt-continues-her-march-against-cinemas-grain","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/cinema\/films\/first-cow-kelly-reichardt-poursuit-sa-marche-a-contre-pied-du-cinema\/","title":{"rendered":"\u00abFirst Cow\u00bb: Kelly Reichardt continues her march against the grain of cinema"},"content":{"rendered":"\n<p><em>Les mercredis du cin\u00e9ma \u2013 <a href=\"https:\/\/leregardlibre.com\/tag\/alice-bruxelle\/\" data-type=\"URL\" data-id=\"https:\/\/leregardlibre.com\/tag\/alice-bruxelle\/\">Alice Bruxelle<\/a><\/em><\/p>\n\n\n\n<p class=\"has-drop-cap\"><strong>Alors que de plus en plus de r\u00e9alisateurs succombent \u00e0 l\u2019attractivit\u00e9 des grandes plateformes et \u00e0 leur esth\u00e9tique efficace, mais un brin r\u00e9p\u00e9titive, la r\u00e9alisatrice am\u00e9ricaine Kelly Reichardt, elle, puise sa force dans son ind\u00e9pendance. Chacun de ses films minimalistes et \u00e0 petit budget est une tesselle qui, mis bout \u00e0 bout, forme une mosa\u00efque de l\u2019histoire am\u00e9ricaine coutur\u00e9e et modeste. Son septi\u00e8me long-m\u00e9trage, <em>First Cow<\/em> sorti le 9 juin dernier dans les salles suisses s\u2019installe au d\u00e9but de la Conqu\u00eate de l\u2019Ouest.<\/strong><\/p>\n\n\n\n<!--more Lire la suite de la critique (en libre acc\u00e8s)-->\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"First Cow | Official Trailer HD | A24\" width=\"1000\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/SRUWVT87mt8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Les \u0153uvres de Kelly Reichardt, c\u2019est contempler un feu: r\u00e9confortant, familier, atemporel. Nous sommes fascin\u00e9s sans r\u00e9ellement savoir pourquoi. Du bois et une allumette pourtant. Mais le feu porte en lui un pouvoir contradictoire: celui de faire vivre ou de d\u00e9truire. Du bois et une allumette, et le poumon de la plan\u00e8te se meurt. Du bois et une allumette, et les premiers hommes ont r\u00e9ussi \u00e0 survivre. Ce point de basculement de la connaissance \u00e0 la destruction, \u00e0 l\u2019image du mythe de Prom\u00e9th\u00e9e, fa\u00e7onne <em>First Cow<\/em>.<\/p>\n\n\n\n<p>Alors que son premier western <em>La Derni\u00e8re Piste <\/em>(2011) se jouait en 1845, ici, nous sommes en 1820, p\u00e9riode charni\u00e8re o\u00f9 la conqu\u00eate de l\u2019Ouest n\u2019est pas encore \u00e0 son apog\u00e9e, mais file fatalement vers son destin. Deux voyageurs solitaires, Cookie Figowitz (John Magaro) et King-Lu (Orion Lee) se lient d\u2019amiti\u00e9 et montent une petite affaire de vente de beignets en volant le lait \u00e0 la seule vache de la r\u00e9gion, appartenant \u00e0 un riche propri\u00e9taire rancunier. Ce dernier, apprenant le m\u00e9fait, part \u00e0 leurs trousses. En parvenant \u00e0 capter les quatre accords essentiels&nbsp;\u2013&nbsp;la nature, les hommes, l\u2019amiti\u00e9 et la solitude&nbsp;\u2013 Reichardt remonte le fil de l\u2019histoire et saisit sur le fait comment la partition s\u2019est d\u00e9r\u00e9gl\u00e9e.<\/p>\n\n\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Remonter le temps<\/strong><\/h3>\n\n\n\n<p><em>River of Grass <\/em>(1994) est le premier long-m\u00e9trage de Reichardt mais aussi le point de chute de son regard sur l\u2019Am\u00e9rique. A partir de l\u00e0, la cin\u00e9aste fait un <em>d\u00e9<\/em>-roul\u00e9 de l\u2019histoire am\u00e9ricaine jusqu\u2019\u00e0 se poser au d\u00e9but du XIX<sup>e<\/sup> si\u00e8cle, au temps des premiers trappeurs et d\u2019un capitalisme encore \u00e0 ses balbutiements. Vingt-sept ans avant la sortie de <em>First Cow<\/em>, <em>River of Grass<\/em> annon\u00e7ait d\u00e9j\u00e0 ses pr\u00e9mices: une des premi\u00e8res sc\u00e8nes du film montre le personnage de Cozy, jeune am\u00e9ricaine tiraill\u00e9e entre sa condition r\u00e9elle et son r\u00eave d\u2019ailleurs, remplir le biberon de son enfant avec du <em>Coca-Cola<\/em> accompagn\u00e9e par cette phrase en voix-over: \u00abJ\u2019ai entendu dire que le lien m\u00e8re-enfant commence d\u00e8s la naissance\u00bb. Le soda remplace le lait de la terre-m\u00e8re nourrici\u00e8re. A quel moment la rupture s\u2019est-elle effectu\u00e9e? A quel moment avons-nous coup\u00e9 le cordon?&nbsp;<\/p>\n\n\n\n<p>L\u2019histoire de cette rupture, c\u2019est le cin\u00e9ma de Reichardt. Sa gen\u00e8se se trouve dans <em>First Cow<\/em>, signifiant litt\u00e9ralement la premi\u00e8re vache qui, comme Prom\u00e9th\u00e9e, donne de quoi nourrir les hommes, mais aussi de quoi les faire s\u2019auto-d\u00e9truire. Les deux personnages trouveront en effet leur bonheur dans le lait qu\u2019ils d\u00e9robent \u00e0 un notable cosmopolite, ingr\u00e9dient n\u00e9cessaire pour cuisiner des beignets et les vendre dans une sorte de march\u00e9 primitif. In\u00e9luctablement, leur affaire prend une ampleur qui leur \u00e9chappe. Le notable en prend tr\u00e8s rapidement connaissance et voit en eux l\u2019opportunit\u00e9 de transformer leur march\u00e9 de \u00abcul-terreux\u00bb en un fructueux <em>business<\/em> \u00e0 San Francisco.<\/p>\n\n\n\n\n\n<p>L\u00e0 est la rupture. L\u2019\u00e9chelle humaine est devenue <em>in<\/em>humaine. 180 ans plus tard, nous retrouvons Cozy et Lee, dans <em>River of <\/em>Grass, deux \u00e2mes esseul\u00e9es et encercl\u00e9es par les autoroutes arachn\u00e9ennes de la Floride. A la nature, l\u2019entraide, et l\u2019amiti\u00e9 ont succ\u00e9d\u00e9 l\u2019industrialisation, la m\u00e9fiance et l\u2019individualisme. Un individualisme qui revient de mani\u00e8re pr\u00e9gnante dans <em>Wendy et Lucy<\/em> (2008), son troisi\u00e8me long-m\u00e9trage o\u00f9 Wendy, contrainte financi\u00e8rement au vagabondage, tente de rejoindre l\u2019Alaska pour y trouver un emploi. Interpr\u00e9t\u00e9e par Michelle Williams, dont nous saluerons l\u2019\u00e9lasticit\u00e9 de son bagage artistique allant de Marilyn Monroe \u00e0 une quasi-sans-abri, Wendy se confronte \u00e0 l\u2019indiff\u00e9rence syst\u00e9mique qui n\u2019est gu\u00e8re d\u00e9nonc\u00e9e en se gargarisant de mis\u00e9rabilisme comme un certain cin\u00e9ma loachien sait si bien le faire. Au contraire, les personnages semblent toujours agir selon un syst\u00e8me qui les d\u00e9passe. Ici, tout le monde a des probl\u00e8mes et esp\u00e9rer une main tendue rel\u00e8ve de la folie pure.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>L\u2019arme du crime: des beignets<\/strong><\/h3>\n\n\n\n<p>A propos de <em>River of Grass<\/em>, la cin\u00e9aste commentait dans un entretien avec Todd Haynes, son producteur: \u00abNous nous sommes demand\u00e9s si le personnage de rebelle solitaire typique des <em>road movies <\/em>pouvait encore exister dans les ann\u00e9es 1990, quand m\u00eame les Burger King ont pour slogan \u2018<em>Break the rules<\/em>\u2019\u00bb. Cozy et Lee sont les antih\u00e9ros d\u2019un <em>road movie <\/em>qui n\u2019en est pas un: fuyant un crime qu\u2019il n\u2019ont pas commis, ils ne d\u00e9passeront m\u00eame pas le premier p\u00e9age; 25 cent leur manquait. Tout comme Cookie et King-Lu sont les antih\u00e9ros d\u2019un western qui n\u2019en est pas un. Alors que les longs travellings sur les grands espaces de l\u2019Ouest am\u00e9ricain sont le plus souvent pl\u00e9biscit\u00e9s par ce genre, <em>First Cow <\/em>frappe par un format d\u2019image carr\u00e9 (4:3)  confinant le peu d\u2019action dans un espace \u00e9triqu\u00e9, celui de la for\u00eat. Point de vall\u00e9es sauvages et d\u2019\u00e9tendues d\u00e9sertiques synonymes de la grandeur d\u2019outre-Atlantique, la cam\u00e9ra reste \u00e0 port\u00e9e des deux hommes et de la nature, comme si elle ne voulait pas trahir le lien indissociable entre les deux entit\u00e9s. La nature et l\u2019humain forment un tout. Le r\u00e9cit n\u2019est pas une fuite en avant et lin\u00e9aire, mais est ponctu\u00e9 par une r\u00e9p\u00e9tition de gestes simples et rudimentaires: traire la vache, cuire les beignets dans le po\u00eale \u00e0 bois, les vendre au march\u00e9.&nbsp;<\/p>\n\n\n\n<p>Loin d\u2019\u00eatre une histoire de conqu\u00eate, <em>First Cow<\/em> met en sc\u00e8ne la naissance d\u2019une amiti\u00e9, de deux hommes solitaires qui se rencontrent par hasard et qui acceptent de s\u2019entraider, dont le seul crime est le vol de lait pour le transformer en beignets. Le film s\u2019ouvre sur une citation de William Blake: \u00abThe bird a nest, the spider a web, man friendship\u00bb. V\u00e9ritable force vitale, l\u2019amiti\u00e9, tout comme la nature, est ce qui constitue l\u2019essence originelle de l\u2019humain. Alors que les colons sont occup\u00e9s \u00e0 b\u00e2tir, exploiter, tuer, l\u2019amiti\u00e9 se per\u00e7oit comme une enclave touchante qui r\u00e9sistera jusqu\u2019\u00e0 la fin. Avec une narration minimaliste, des dialogues rares, une musique discr\u00e8te mais ma\u00eetris\u00e9e et un rythme lent, Reichardt se refuse \u00e0 faire du cin\u00e9ma grand public et attendu.&nbsp;<\/p>\n\n\n\n<form method=\"post\" action=\"https:\/\/newsletter.infomaniak.com\/external\/submit\" class=\"inf-form\" target=\"_blank\"><input type=\"email\" name=\"email\" style=\"display:none\" \/><input type=\"hidden\" name=\"key\" value=\"eyJpdiI6IlZXRVJGMlRGQUU2alNqUE81bitIUk5adnNVa0c4MllFTStzOHdHT1FQZ3c9IiwidmFsdWUiOiJIYzhwMUVCK1pTNnlhY3MyMmhuZlhReWJqemEwNk93blMxTjFHc0s2VHZrPSIsIm1hYyI6ImVhYTQ5N2I1M2NiYWE4NzBmNjk2NzgzYjliM2Y5NmYzM2E2ZmU3NGQxNTU1ZDFkMTU1MzY5NTdjYjE3ZTJmNTUifQ==\"><input type=\"hidden\" name=\"webform_id\" value=\"7291\"><style> .inf-main_3000311ca56a1cb93397bc676c0b7fff{ background-color:#f5f5f5; padding:25px 20px; margin:25px auto; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-content { margin-top:13px;} .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff span, .inf-main_3000311ca56a1cb93397bc676c0b7fff label, .inf-main_3000311ca56a1cb93397bc676c0b7fff input, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-success p a { color:#555555; font-size:14px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4{ font-size:18px; margin:0px 0px 13px 0px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff label{ font-weight:bold; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input { margin-bottom:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff label { display:block;} .inf-main_3000311ca56a1cb93397bc676c0b7fff input{ height:35px; color:#999999; border: 1px solid #E9E9E9; border:none; padding-left:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error label, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message{ color: #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error input{ border: 1px solid #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input input { width:100%;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message { display: block; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit { text-align:right;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input{ background-color:#777777; color:#ffffff; border:none; font-weight: normal; height:auto; padding:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input.disabled{ opacity: 0.4; } .inf-btn { color: rgb(85, 85, 85); border: medium none; font-weight: normal; height: auto; padding: 7px; display: inline-block; background-color: white; box-shadow: 0px 1px 1px rgba(0, 0, 0, 0.24); border-radius: 2px; line-height: 1em; } .inf-rgpd { margin:25px 0px 15px 0px; color:#555555; } <\/style> <div class=\"inf-main_3000311ca56a1cb93397bc676c0b7fff\"> <h4>NEWSLETTER DU REGARD LIBRE<\/h4> <span>Recevez nos articles chaque dimanche.<\/span> <div class=\"inf-success\" style=\"display:none\"> <h4>Votre inscription \u00e0 notre infolettre hebdomadaire a \u00e9t\u00e9 enregistr\u00e9e avec succ\u00e8s !<\/h4> <p> <a href=\"#\" class=\"inf-btn\">&laquo;<\/a> <\/p> <\/div> <div class=\"inf-content\"> <div class=\"inf-input inf-input-text\"> <input type=\"text\" name=\"inf[1]\" data-inf-meta = \"1\" data-inf-error = \"Merci de renseigner une adresse email\" required=\"required\" placeholder=\"Email\" > <\/div> <div class=\"inf-submit\"> <input type=\"submit\" name=\"\" value=\"S\u2019inscrire\"> <\/div> <\/div> <\/div> <\/form>\n\n\n\n<p>En prenant les codes de diff\u00e9rents genres \u00e0 rebours, elle nous invite \u00e0 entrer dans l\u2019int\u00e9riorit\u00e9 du cin\u00e9ma. Elle transforme la grande histoire de l\u2019Am\u00e9rique en r\u00e9cits de petites gens. Elle nous apprend aussi que la grandeur s\u2019atteint avec une seule \u00e9chelle: l\u2019\u00e9chelle humaine.&nbsp;&nbsp;<\/p>\n\n\n\n<p><em>Ecrire \u00e0 l\u2019auteure:&nbsp;<a href=\"mailto:alice.bruxelle@leregardlibre.com\">alice.bruxelle@leregardlibre.com<\/a><\/em><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1707\" height=\"2560\" src=\"http:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled.jpg\" alt=\"\" class=\"wp-image-41059\" srcset=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled.jpg 1707w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled-200x300.jpg 200w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled-683x1024.jpg 683w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled-100x150.jpg 100w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled-768x1152.jpg 768w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled-1170x1755.jpg 1170w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled-585x877.jpg 585w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled-300x450.jpg 300w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/06\/Affiche_First-Cow_1.1-scaled-600x900.jpg 600w\" sizes=\"(max-width: 1707px) 100vw, 1707px\" \/><\/figure><\/div>\n\n\n\n<p>Cr\u00e9dits photos: \u00a9 Allyson Riggs<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Conquest of the West<\/p>","protected":false},"author":332,"featured_media":41057,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[644356768,644356769,644356770,644356771],"class_list":["post-41050","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-first-cow","tag-kelly-reichhardt","tag-la-derniere-piste","tag-river-of-grass"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.9 (Yoast SEO v27.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>\u00abFirst Cow\u00bb: Kelly Reichardt poursuit sa marche \u00e0 contre-pied du cin\u00e9ma<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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