“Jurassic World”, “Men”, “Little Flower”… Movies of the week

Jurassic World: The World After by Colin Trevorrow

“The film has the weight of its ambition: wanting to replay all the episodes at the same time, chasing too many tracks at the same time, dispersing over many territories, being both a film of open spaces and enclosures, multiplying the beasts to inaugurate new ones, rather unconvincing locusts quick to precipitate the world into a spiral of famines. By Jean-Marc Lalanne

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Men by Alex Garland

“Despite Garland’s undeniable talent for setting up a climate of angst and for depicting startling imagery, and despite her manifest desire to stage toxic masculinity, the literalness of the company, coupled with the spiritual gloubi-bulga of its execution, disappoints.” By Bruno Deruisseau

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The Earth is Blue as an Orange by Iryna Tsilyk

“The Earth is Blue as an Orange is as much the diary of a war as a film lab, a film being made before our eyes, made by the strength of the arms of a mother, a true proclaimed pillar of the clan (the father is absent at home). ‘ image), and of his children, including a daughter soon to be admitted to film university to become a filmmaker. By Marilou Duponchel

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Mizrahim, the Forgotten of the Promised Land by Michale Boganim

“The film then takes on buses and cars, becomes a road movie in the outskirts of Israel, on the fringes of the big cosmopolitan cities, these crowdless and ghostly places, large dormitories witnessing the exodus. The road plans cross the country, seem to seek an anchor point and undertake a winding quest for the past: the path of a wounded intimate geographer. By Arnaud Hallet

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Little Flower by Santiago Miter

“Flirting between an acid comedy whose story seems possessed by an improvisatory fever and a more naturalistic portrait capturing with acuity the routine daily life of a couple (Vimala Pons and Daniel Hendler), Small flower advances before our amused eyes like an astonishing unmarked object. Uninhibited, unexpected and well helped by an irresistibly unbearable Melvil Poupaud as a mustachioed dandy admirer of jazz, it is quite disconcerting to observe the film settle down to definitively desert the rails of insolence. By Ludovic Beot

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All Eyes off Me by Hadas Ben Aroya

“Less fiery than the previous book, the exercise loses humor but gains in acuity, with a piercing yet still tender look at the new practices of millennials. Themes dear to Hadas Ben Aroya, which we now discover crossed by a reinforced sociological ambition. By Ludovic Beot

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The Mom and the Whore by Jean Eustache

“Just Marie (Bernadette Lafont), Alexandre (Jean-Pierre Léaud) and Veronika (Françoise Lebrun) in a room, eating, talking, fucking, phoning, drinking, smoking and crying. A room that contains everything (just as all cinema relates to a room: a camera) – closed windows, drawn curtains, crumpled sheets, cigarette smoke. That’s what we see there and that’s how we saw it. By Théo Ribeton

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