PERFECT NANNY/CHANSON DOUCE (Lucie Borleteau 2019)
From Leïla Slimani''s Goncourt-winning bestseller - but the nanny from hell story fizzles a bit despite Karin Viard. Some precision and control of defense are lacking.
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PERFECT NANNY/CHANSON DOUCE (Lucie Borleteau 2019)
From Leïla Slimani''s Goncourt-winning bestseller - but the nanny from hell story fizzles a bit despite Karin Viard. Some precision and control of defense are lacking.
MAMOUNA DOUCOURÉ: CUTIES/MIGNONNES (MAMOUNA DOUCOURÉ 2020)
Uneven but vibrant movie about an 11-year-old girl in the Paris banlieue of Senegalese origin torn between a traditional family and an inappropriately sexy dance group. The camera of Yann Maritaud captures colorful people and action.
The 2020 Rendez-Vous with French Cinema ends abruptly.
AN EASY GIRL/UNE FILLE FACILE (Rebecca Zlotowski 2019)
Sensuous sun-kissed coming-of-age moment, evoking Rohmer & Bardot, a free older friend who's the eternal feminine, a naive poor local girl respected by the millionaire's friend (Magimel). This seemed slight and familiar yet it left me with a pleasant feeling.
. . . a feeling that was dampened abruptly on walking out of the Walter Reade Theater only to learn that due to the virus the rest of the Rendez-Vous was cancelled. That meant no Filmleaf "live" coverage of these seven additional Rendez-Vous films:
Those links are to sites where reviews may appear later. For now, you will find only a still, a festival blurb, a few details.Quote:
JOAN OF ARC/JEANNE (Bruno Dumont 2019)
ISADORA'S CHILIDREN/LES ENFANTS D'ISADORA (Damien Manivel 2019)
THE SPECIALS/HORS NORMES (Olivier Nakache, Éric Toledano 2019)
SOMEONE, SOMEWHERE/DEUX MOI (Cédric Klapisch 2029)
SPREAD YOUR WINGS/DONNE MOI DES AILES (Nicolas Vanier 2019)
SOUTH TERMINAL/TERMINAL SUD (Rabah Ameur-Zaïmeche 2019)
HAPPY BIRTHDAY/FÊTE DE FAMILLE (Cédric Kahn 2019)
This was a disappointment, but an even greater gap appeared later when Lincoln Center announced the discontinuation of all film presentations for the near future. This meant cancellation of the sixteen New Directors/New Films press screenings scheduled for next week at two venues.
So, altogether, 23 new films that can't be covered here now.
Rendez-Vous with French Cinema 2020 at Lincoln Center
LINKS TO THE REVIEWS:
Alice and the Mayor/Alice et le maire (Nicolas Pariser 2019)
Best Years of a LIfe, The/Les plus belles années d'une vie (Claude Lelouch 2019)
Burning Ghost/Vif argent (Stéphane Batur 2019)
Cuties/MIgnonnes (Mamouna Doucouré 2019)
Dazzled, The/Les éblouis (Sarah Suco 2019)
Deerskin/Le Dain (Quentin Depieux 2019)
Easy Girl, An/Une fille facile (Rebecca Zlotowski 2019)
Isadora's Children/Les Enfants d'Isadora (Damien Manivel 2019)
Jeanne (Bruno Dumont 2019)
On a Magical Night/Chambre 212 (Christophe Honoré 2019)
Papicha (Mounia Meddour 2019)
Perfect Nanny/Chanson douce (Lucie Borleteau 2019)
School Life/La vie scolaire (Grand Corps Malade, Mehdi Idir 2919)
Someone, Somewhere/Deux moi (Cédric Klapisch 2019)
Spellbound/Les envoutés (Pascal Bonitzer 2019)
Truth, The/La Vérité (Hirakazu Koreeda 2019) Opening Night Film
Who You Think I Am/Celle que vou croyez,(Safy Nobbou 2019)
JEANNE (Bruno Dumont 2019)
Sadly, the quirky French auteur from the north of France (where he makes all his films), so many of his films have been strange and remarkable, disappoints pretty totally here, providing a dull and overlong version of the wartime failures (described remotely) and trial (depicted numbingly) of Joan of Arc. The young star, though, has unshakable conviction and a powerful gaze.
For the moment, you can watch it free from Film at Lincoln Center via Festival Scope, here:
https://www.festivalscope.com/all/fi...-arc/auto-play
ISADORA'S CHILDREN/LES ENFANTS D'ISADORA (Damien Manivel 2019)
Also available free currently from Festival Scope for Film at Lincoln Center, more Rendez-Vous catchup - another of the seven I could not see due to the early cancellation of the series. Focused on a dance called "Mother" by Isadora Duncan belatedly expressing feelings from her grief over the tragic loss of two young children. Encourages a contemplative mood. It will be too slow and uneventful for many viewers.
It was accessible here:
https://www.festivalscope.com/all/fi...dren/auto-play
SOMEONE, SOMEWHERE/DEUX MOI (Cédric Klapisch 2019)
An unhappy young man and woman with issues to resolve live side by side unknowingly in a cheaper part of Paris near the Gare du Nord. A cute but somewhat self-defeating premise is that Klapisch keeps them parallel but apart till the last few minutes when at last they meet cute. A lackluster Klapissh effort compared to such hits as L'Auberge Espagnole or Russian Dolls, but the actors have plenty of charm and Klapisch himself has a warm heart.
Available on-demand now via Metropolitan Virtual Theater and that's how I saw it, because the Rendez-Vous was shut down early for the pandemic before I got to see it.
http://www.chrisknipp.com/images/C3T.jpg
FATIHA YOUSSOUF ABDILLAH (FAR RIGHT) IN MIGNONNES
CUTIES /MIGNONNES (Maimouna Doucouré 2020) - again
There's been a controversy over CUTIES, the French-Senegalese drama about 11-year-olds who get involved in an overly-sexualized performance in a dance competition. This happened once Netflix announced it with a provocative preview. Many who hadn't seen the film rose up to express outrage.
Now Peter Bradshaw of the GUARDIAN has published a (3/5 star)review that analyzes the film from this point of view.
He says, "Maïmouna Doucouré’s film and its accusers are on the same side: attacking pornification and the false promise of liberation by sexualised display."
I think he's right, but I also still think that dramatizing behavior you disapprove of a liittle too appetizingly is obviously inadvisable, though I don't pretend to know the solution. One thing is clear, that people exploit controversies of this kind for their own devious ends, usually without having seen the "objectionable" work in question.