Memory with Jessica Chastain, an exhibition in Chambord, a Roman conversation about family trauma… La Semaine Culture de Madame Figaro

Memory in the world

Social assistant, elderly alcoholic and single mother, Sylvia – suivie par un man alors qu’elle entre de la reunion des anciens de son lycée. Le lendemain, elle le retrouve dehors, desorienté: le quinquagénaire est atteint de démence. Sylvia is a house helper, on board to take revenge: the crime responsible for the trauma of adolescence. When reality is wrong, the first floor and relationships begin a romantic journey. More comments Are you living the love you have? Comment on what is confidence after you make a mistake? Comment accepted de se Mettre en Danger when son équilibre no tent Qu’à un fil? “I’m not crazy about the concept of the genre: “She can’t be anywhere else, she won’t come to mind,” but the multitude of two characters who do this reveal a great challenge in the state of mind, in society and in “Leurs proches, qui leur intiment de rester chez eux et d’éviter les ennuis,” said Michel Franco, implementer of de Memory

. Without fard, in the role of her figure, Jessica Chastain bullies and the woman who is more compatible with the face, as well as the returning Peter Sarsgaard, is rewarded with the title of the Volpi coupe of the best actor in Mostra 2023. M.L.

MemoryMichelle Franco, Jessica Chastain, Peter Sarsgaard…

Julien de Monstier, time clock

After many artists Philippe Cognier, Lydie Arix or Lionel Sabatte and his secret “Pollens”, in 2023 the national domain of Chambord invites Julien de Monstier to his residence for an exhibition, and so on. Chambord, ce trésor de la Renaissance, compared to the “cache of diamonds in the forest”, was listed as a UNESCO World Heritage Site after 1981. Exhibition Dedance deors Présente plus d’une trentaine d’oeuvres, is not included in this special product. Julien de Monstier, born in 1983 in Limoges, graduated from the Faculty of Fine Arts in 2008 (atelier of Jean-Michel Alberola), an artist who does not approach painting in the field of painting. La superposition d’aplats de couleurs – notamment les complémentaires Orange et Blue – fait coexist les temporalités. However, these modern motifs are absent from the past. Chase scenes, animalistic scenes, floral decorations, tapestries… resonate with the murmurs of the castle, dialogues with the spirit of the place. The artist worked with the technique of report, faite d’allers-retours. Il peint d’abord sessins sur plexiglass plate by first transfer (from a painting on a huile encore fraîche) onto glass paper. The report contains a motive for labor repression. Results: animated videos or fantastic stories, abstract motifs, anthem à la couleur. L.S.

Dedance deorsfrom May 26 to November 3 at the Chateau de Chambord. chambord.org

Tabloid traumatism

Il est toujours très risqué de mener de front le recit de la vie d’un proche et celui du cheminement de la memoire et des émotions qui y conduisent. So, a miracle happens: analytical demarche and Romanesque fusionnent intensity. L’auteure, toute sa vie, a tené de comprendre pourquoi elle n’avait pas été amée par sa mère. Non pas battue or privée de soins, mais, et c’est peut-être encore pire, ignorée,traéee avec une indifférence definitive, abyssale. La question on the Roman boulevard that represents ainsi: comment that the little girl sits on the piano and la vie el girl, an adult woman, seems to be the son of Marie and incapable of being a mother? Germaine Chamissot’s last family quote in his family’s original Russian poem “Odessa for Anvers” began on May 10, 1940, when Germany sent the Belgians. Cache for a couple of French peasants plus a year ago, la famille, after a good holiday, return on board to Marseille and set sail for America. Germaine resumes her studies in New York and studies to become a great pianist. But more exiles repeat themselves, la peur et une insécurité trop grande ont brisé l’enfant et l’adulte en devenir. Unite the mistakes of generations to create a world of disparate traumas? Ce roman montre à quel point hier est proche d’aujourd’hui et combien il est vital de remonter la track, surtout celle de our parents, d’identifier les bifurcations décisives, d’évaluar les dégâts pernicieux, pour tenter d’en finir with suffrance. On the other hand, the secret of mothers who do not have an eye on their children is an uncontrollable and burning fire. Ce recit puise sa lumière obstinée dans l’amour de l’ecriture et des rencontres, dans l’espoir de la resilience, dans l’audace d’une confession. IP

Dernier Bateau for AmericaKarin Lambert, Éditions de la Belle Étoile, 352 pp., €21.90.