Black Panther 2, Rodeo… Film not to be missed (or avoided) at the cinema

The editorial team has selected for you the new films not to be missed … or to be avoided this week at the cinema.

© Prod.

Black Panther 2: Wakanda forever

Two problems run through this new Marvel production. The people of Wakanda have lost their king T’Challa, played in the first episode at the end Chadwick Boseman to which this new episode is largely dedicated. The lands of Wakanda are therefore no longer under the protection of the mighty Black Panther. But they are no longer the only ones holding the precious vibranium, a metal so coveted by so-called civilized nations that could turn it into a weapon of mass destruction. Another kingdom, this submarine, also has it and intends to wage war on the whole world to keep it master. Their leader Namor asks Wakanda for his support, which is rejected, which causes him to anger.

The problem with this Wakanda forever there is no doubt that there is too much at stake. Clearly, someone (someone?) Needs to become the new (new?) Black Panther. The tragic passing of Chadwick Boseman didn’t stop the series but forced the writers to review their copy without him. And then imagine his succession. This is what the public expects. But the paths to get there are terribly long and winding. You have to wait two hours to find out who will wear the black panther head costume!

The other stake is this war that will lead the two peoples who hold vibranium. One of African origin, the other of South American origin. There was a lot of potential to develop in this face to face between two peoples who historically have in common that they have been oppressed by white domination. If the first Black Panther was imbued with a strong symbolism, it turns out that a form of one-upmanship makes the second lose much of its relevance. But don’t worry, the ending suggests that other Black Panthers are in the starting blocks!

** Directed by Ryan Coogler. With Letitia Wright, Lupita Nyong’o, Danai Gurira, Angela Bassett – 162 ′


Filmmakers have made their way through the dense forest of film history. This path will always be traveled, but now it has been marked and has opened up different storytelling paths. I felt protected by these figures.“Suffice it to say from the outset that we literally drank in the words of the young French director (31 years old) we met at the Ghent festival, so much about the rise to power of female directors of the time and the way they are changing screens through a “feminine gaze” (“feminine gaze”) that redefines the representations and codes of the genre.

Lola Quivoron entered this forest by regaining possession of the weapons of the femme fatale, inventing a woman-hooligan figure never seen in the cinema. Therefore we follow Rodeo (without accent) the meteoritic trajectory of Julia aka the Inconnue (the incredible Julie Ledru who partly inspired the role), a young woman from the working-class neighborhoods who crosses the world of cross-country skiing alone and discovers a way to survive but also a reflection of his desires.

The film was born from my encounter with cross-country skiing in 2016, which has become a very contagious, very physical passion. It is a poetic and political sport that I first understood through photography. I tried to understand this movement and this culture from the inside, these young people who gather on a remote road in the middle of the fields. With the photo we are already in fiction. For seven years I have frequented this street where there are very few girls. I met a very beautiful and very brutal girl named Baya who disappeared one day. I started writing around a female character because I missed her and then I met Julie Ledru. She was a miracle. You gave a materiality, a documentary density to her character. Her relationship with violence, loneliness and survival interested me. The whole film is constructed through her point of view and our ability to identify with this body-subject, this subject-body, with her subjectivity. The film’s technical ambition came first from the character”, Analyzes the director.

Halfway between film noir, robbery and ghost films, Rodeo it is as much a vertigo of the staging as a new portrait of a woman. Written with Antonia Buresi (who also plays the gang leader’s wife), Rodeo it does not fear accidents or turns and takes us into an unknown utopia that burns for a long time, somewhere on the asphalt.

Enter our competition by November 14 and win tickets to this powerful film

*** Directed by Lola Quivoron. With Julie Ledru, Yanis Lafki, Antonia Buresi – 105 ‘.

fire colors

In his trilogy of children of disaster, writer Pierre Lemaitre describes less of a family saga, even if the characters are part of the same family tree, than the times they go through. After the “post-” First World War of goodbye up thereit is the passage from the 1920s to the 1930s that he tells fire colors: the 1929 crisis, the rise of Nazism and the arms race. With a woman at the center of the story. Her heir to a financial empire, Madeleine Péricourt (the excellent Léa Drucker) is betrayed by a handful of men who are ruining her and on whom she will ruthlessly retaliate. After the light comedies, Clovis Cornillac signs with fire colors his most ambitious and successful film. It is Pierre Lemaitre who writes the screenplay and the dialogues, offering the actor and director a playing field that seems to fit him perfectly.

My desire is to make great popular cinema, Clovis Cornillac explains. This is where I want to go. Making great popular cinema means having access to more ambiguous territory than Marvel, which puts me to sleep, without being Ken Loach. But in a big popular movie, there will be some things that will lead you to Ken Loach and some things to Marvel. I feel justified in doing it.

His film is both the portrait of a woman who takes her own destiny in hand, but also the description of a troubled time that evokes ours. Clovis Cornillac never weighs down his line. His fire colors it also has a “clean line” aspect dear to Belgian comics. “I’ve read Tintin, Blake and Mortimer, Blueberry, the old folks, He agrees. Perhaps he unconsciously returns. When I make a film, I have the impression that I have invented everything and when I see it, I see that I have not invented anything at all! My desire for cinema perhaps approaches a sort of clear line, a desire for elegance and adventure.

With this fourth feature film behind the camera, Clovis Cornillac seems to have found a place where he perhaps feels more comfortable than an actor. “As an actor, you are never as exposed as in directing. When I realize it, I’m completely naked. They are everywhere, in costumes, on sets. Directing is truly reinventing the world. If people don’t like my film, it will be my fault, not the people who are in the credits and who listened to me. On the other hand, if the film is successful, it will be thanks to them.

*** Directed by Clovis Cornillac. With Léa Drucker, Benoît Poelvoorde – 124 ‘.

Dream walls

Patti Smith, Leonard Cohen, Jack Kerouac, Marilyn Monroe, Nico, Simone de Beauvoir, Bob Dylan… The famous guests of the Chelsea Hotel stand out superimposed on the walls. With a rare evocative power, the directors revive the memory born of a socialist utopia, during the transformation works completed at the beginning of 2022. Experienced as “a place of resistance”, the film is also a formidable political reflection on art and creation.

The Chelsea Hotel has been a place of experimentation and intense freedom, a fertile base with a social mix and a diverse population. The archive images irrigate the film but we have chosen to stay with those who live there and perpetuate their spirit, because the hotel exists in the collective imagination even more than in reality.”, They summarize. The result is a documentary of insane sensitivity, in which magnificent characters stand out such as the centenarian artist Bettina Grossman, under the benevolent patronage of Martin Scorsese. Do not lose.

*** Directed by Amélie Van Elmbt and Maya Duverdier – 102 ‘.


It’s kind of like Hikers took place in the Pyrenees. But on horseback and without Poelvoorde. Édouard Deluc (Gauguin with Vincent Cassel, Wedding in Mendoza) imagined a duo of broken arms who seek as much to make money as a meaning to their existence by creating “Trappeurs 3000” to experience the great adventure. A dozen candidates take the bait, obviously only archetypes: the advertising actress who directs the casting, a woman coming out of depression, a father trying to reconnect with his son. The secondary stories are the most touching, unfortunately they are only touched upon in favor of the disorganized road trip that unites them all.

** Directed by Édouard Deluc. With Pio Marmaï, Philippe Rebot, Olivia Côte, Camille Chamoux – 96 ‘.

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