Cinema Lyon – In theaters

Wednesday, theatrical release day: here’s our selection of films to see in Lyon this week.

By Vincenzo Raimondo
Published Wednesday 23 November 2022

see

★★★☆☆ Nostalgia

Forty years after leaving Naples to avoid the consequences of a big mistake, Felice returns there in the hope of making peace with his past. Entangled in a game of hide and seek between the mafia (yesterday and today) and the squadron of the priest who fights them, Felice looks for her place. But is there a middle ground?

read also: “Mine” by Roschdy Zem: Headshot


From The death of a Neapolitan mathematician (1992), Mario Martone seems to have dedicated his film career to representing all the faces and facets of his city without complacency or Englishness through the portraits of those who give it life and soul. As the programmatic title suggests, Nostalgia is one of the most moving because its long man walks mr about to bury his mother are mixed with flashbacks showing his youthful exploits in the unchanged city: humans pass, but the stones remain. like grudges, which also rot with time.

Prolonging his wanderings, showing the indecision of a Felice who naively believes he can be absolved of his faults, the inexpressible and growing attachment he feels for his city, Martone manages to grasp this widespread and evanescent feeling of nostalgia, including the expression of dispensation from words. Hence the importance of the interpreter, in this case the very physical Pierfrancesco Favino, capable like Depardieu of a powerfully introspective game.

read also: Roschdy Zem: People who speak calmly scare me

A film by Mario Martone (It, 1h57) with Pierfrancesco Favino, Tommaso Ragno, Francesco Di Leva


★★★☆☆ bad Girls

For more than a century and until the 1970s, French justice placed, without too much emotion, young minors who didn’t necessarily have problems in reformatories under the sign of the Good Shepherd, very badly named religious institutes given the degrading treatment, even sadistic, which they inflicted on their boarders.

Composed of a collection of testimonies as edifying as they are chilling, alternating with shots shot in a former factory transformed into a slum, this documentary brings to light a scandal that is in many ways revolting. Not only did the state delegate its missions of protecting and educating children to a religious institution, allowing it to practice abuse and acts of barbarism without fear or control, but abused girls were placed when their abuser was left alone.

And, of course, public acknowledgment of the wrongs done remains non-existent; the women who speak here have all the more merit to speak. We were outraged at the fate of Irish women The Magdalene sisters (2002) ignoring that we have harbored a comparable monstrosity

A documentary by mrance Dubas (Fr, 1h11)


We are happy

★★☆☆☆ St. Omer

For her new literary project, Rama, a writer who knows she is pregnant, goes to the Saint-Omer court of assizes to follow the trial of Laurence, a woman accused of killing her little girl by leaving her on the beach as the tide it was going up. Are you a victim or a perverse mythomaniac?

This must be the original sin of documentarians when they switch to fiction, with which we have been able to meet again A couple by Frederick Wiseman: their obstinacy to manufacture durability, to create too artificial realism forces them to dispossess it of cinematic attributes in the name of naturalism; in short, model strict rules of documentary capture on a story taken from their imagination. Of course, austere or even Jansenist approaches, the Bresson and Dumont cuckoo can be eminently cinematic if they are counterbalanced by an original visual, sound, dramatic and other writing(or of) intention(s).

This is a bit of a problem here: Alice Diop sets blocks: the life of Rama, almost silent and generally impassive, burdened by the conflictual relationship with his mother; and then the process is followed through his eyes from which conclusions must be drawn, but also Rama’s conclusions. What does this Rama character actually bring? A counterpoint or a different empathy in understanding debates, echoing the same situation as him? Little, in reality, due to his lack of expressiveness, not to mention coldness. His absence probably wouldn’t have failed.

A film by Alice Diop (Fr, 2h02) with Kayije Kagame, Guslagie Malanda, Valrie Drville


★★☆☆☆ The menu

On a pier, a dozen people meet to go to an island to share a rare privilege: dinner at the table of Chef Sowik, a prestigious cook as popular as he is a misanthrope. If the elaborate dishes live up to his reputation, the menu reserves bitter surprises for his guests.

An appetizing distribution; the choice of a plot perfectly in line with the times (domestic gastronomy spewed 24/7 by televisions that desecrate the culinary art); a tasty introduction, announcing the concept film divided into chapters like a menu divided into dishes And then splotch! The sauce doesn’t hold or the soufflé falls out, it’s up to you. A repetitive side settles in what is quickly announced as the successor of ten little niggers much less perverse. If revenge is a dish that is eaten cold, it welcomes at least some spicy flavors to give it character and the unexpected: this is hardly the case here, where too few things divert the service from its course. Oh, Mark Mylod knows his stuff: he’s effective but impersonal and unoriginal where you wish you were caught (period). As for the terrible qualification and the ban on minors under 12, which gave hope (or fear for sensitive stomachs) of a Hannibalthey look overdone in the face of the tawny grand finale Ratatouille.

A film by Mark Mylod (USA, int.-12 years, 1h48, ) with Anya Taylor-Joy, Ralph Fiennes, Nicholas Hoult

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