We’re watching Trouble at the Movies with Natalie Portman and Todd Haynes.

If you are 25 years old, divers are waiting for a great delusion in public universities: a mathematics professor and mother of a family, she is in love with her singles, at 13, and is waiting for you in prison, in prison Assistant in a foray into custody and in honor of the family.

“May December” by Todd Haynes

A film that inspires May December, Signed by Todd Haynes, issued 20 years ago. Debark is in this family presque, like all the other actresses, television stars who make the play in the artistic adaptation of this story. In the best traditions of the Method Actor studio, the wind watcher is the model, in a play with mimetism that turns into vampirization. It’s not the divers’ fear that interests Todd Haynes. Dans ce qui est sans doute son meilleur movie, le plus terrifiant et le plus drôle à la fois, le cinéaste a la fois, le cinéaste a la fois, le cinéaste a la fois, le cinéaste a la fois, admirer and successor of the princes of melodrama, which are Douglas Sirk and Rainer Werner Fassbinder, Laisse de Côté la flamboyance maniériste des Loin du paradise and others Carol to be on stage, and in the world, with a minimalism that has precision, a confrontation between two brilliant actresses: the son of Julianne Moore’s fetish, who was waiting for the premiere of her great role in 1995 Safe (May December this is an ensemble of five films), and Natalie Portman, the birthplace of this film, maybe it is she who repeated the premiere script approved by the casting directive, confident Sami Burch, and which became his premiere film at the moment when he is a producer, a movie proposal , as well as the fact that she is returning to work. This is the general logic that we encountered with Natalie Portman, as well as Todd Haynes, who explained mise-en-scène to us.

“Sami Birch’s performance is extraordinary. dusan Natalie Portman, cloth. Simple, but with a simple deceiver, when you start renting your work and saying all the sous-text in your next answer, your next accusation, your next silence; The tension is already enormous at all times. This is vrai cadeau de pouvoir, playing the parey scenario; I have many questions that have been obsessive to me since my career debut in the role, about identity, about acting, about the morality of art, about the question of knowledge that can tell about history. (…) Et lorsqu’on est soi-même Actress et qu’on joue une Actress, although perhaps she is such and such. And then the public comes with a certain name of attention that can be perverted. This is a rare occasion to tell everything that the audience ont en tête, tout ce qu’ils amènent avec eux en venant voir le movie, et de jouer avec.“

“Ce qui m’a enthousiasmé dans ce cénario, poursuit comme en écho Todd Haynes, c’est this énergie, ce travail sur l’interpretation, sur l’aspect des choses qui ne sont pas Sureles, pas sûres. And I immediately demanded: “Comment je vais traduire ça à l’attention d’un spectateur du movie: ne pas savoir ce que l’on doit thinker de ses personanages?” ” Here’s the moral of these people changing their clothes: This is an invitation I’m making to the audience. (…) Il Fallait Rendre Sensitive Cette unstable, montrer au Public qu’il allait toujours être sur le rebord de quelque chosen, qu’il n’allait jamais être complètement à l’aise. Et, aujourd’hui, je crois que c’est très difficile pour le public de pas ne pas knows exactly what it is that he cannot imagine images, cu’on Louis Montreux. Les gens aimment bien aller vir un movie dont ils savent déjà ce qu’ils penseront à la fin, et le pari à mes yeux, c’est de mettre le public dans une d’instabilité, où Finalement, notre allégeance à un personnage or it’s a different movement, and more in the process. As far as this movie goes, it’s an experience fair. “This is cinema, this is what today is for me.”

To know more about Todd Haynes’ cinema, you don’t have to recommend his lecture. Todd Haynes, American Chimeras, a passionate visitors’ book was written by Judith Revault d’Allon and Amelie Galli on the occasion of a retrospective at the Pompidou Center at a later date, by the editor of De L’Incidence. А prolongator, south LaSinetekSincerely Loin du paradiseand pluses of my muse’s films Julianne Moore and the master’s son Douglas Sirk.

Cinema Magazine

Forays de la Semyon

• The return of a filmmaker of almost a century to tour with images, for a selected documentary project, for a young man who lived in Afghanistan in 1960, is very beautiful Afghan styleJames Ivory;
• Transformation, filmed over five years, a frisky industrial brothel in a residential area, this is an urban poem “envoutant” Ichi Brazzad’Antoine Boutet;
• Popular comedy Goodbye Lenina in a Parisian suburb, on the mountain of anti-Semitism, this, sur le fil du rasoir et sur la corde, Last days of lifeNoé Debreu, with the revelation of a great comic temperament, Michael Zindel’s cell;
• Mélanie Thierry as a volunteer interned at the Salpêtrière psychiatric hospital at the end of a fortnight, this très charnel et coloré Prisonersd’ Arnaud de Pallièreswhich we see last week;
• The mystery of wandering projectionists and teenage girls on the outskirts of the post-Soviet Russian Empire, this is le Magnifique et langoureux La GraceIlya Povolotsky, a Russian revelation at the last Cannes Film Festival;
• Un infini jeu de dupes et de masques qui ne tombent que pour en devoiler un autre, c’est Le Limieuxthe great last film of Joseph L. Mankiewicz, who restored the version, and not NT Binh nous parlera la semaine prochaine;
• An inverted Pygmalion with a Cyclopean colossus in the guise of Galatea and Emmanuelle Devos in the children’s hiding place of Sophie Calle and Marina Abramovic, c’est Argyle Manpremiere feature film inspired by Anais Tellennewho is also here again last week with three slim models of actor Raphael Thierry;
• Le retour sur grand écran d’un enquêteur lubrique qui fit les belles heures du Club Dorothée des années 90, c’est Nicky Larson: Angel DustKenji Kodama, anime version, complete manga City Hunter ;
• Et puis enfin, les dégâts du virilisme dans une famille americaine de catcheurs sous l’étau de fer d’un patriarche toxique, c’est l’inégal, mais émouvant Iron clawSean Durkin.

Plan big announcements

Mercredi prochain will have a premiere Session France Culture from Anne, with advance premiere La Betewonderful adaptation by Bertrand Bonello La Beth in the jungle d’Henri James with Léa Seydoux and George MacKay. It will be a pleasure to meet you again at the cinema. This exception occurs at 19:30 every day. Majestic Bastillein Paris.

À Paris toujours, projection événement ce dimanche de la version, restored in a mythical and rare surviving Yiddish film, Le DibbukMichal Washinsky, starts at 15:30. Rachi CenterRue Broca, 39 in the fifth arrondissement.

Encore projection: ShoahClaude Lanzmann’s definitive and indispensable film about the destruction of Juifs d’Europe. It will be broadcast on Tuesday, January 30 in France from 14:00 to 21:10, and can also be seen on France.tv from the Lendemai website.n.

In Brussels it’s a cinema that has danger, a cinema Not going to. To protect property promoters in a unique space, gyroplane and cinematic experiments, in the heart of the city, in a cooperative where everyone can contribute. You will find information in accordance with this pledge.

In short, if you are in Geneva, there is no price for the exhibition. walkerwhich prerend in the frame du Black Film Festival Tsai Ming-Liang’s series of films in the world today are available today. Hereit’s February 7th in the cultural space Le Commun.

Chronicle of Sandra Onana: Bellissima by Luchino Visconti (to be released in theaters on January 31)

“Mother? What’s up mom?” Mamma Roma!, bien sûr, as Pasolini renamed Anna Magnani in 1961. On this, 10 years later, in 1951, et la Magnani, c’est, dira Visconti, le vrai sujet de son Beautiful. Il lui aura Fallu attre longtemps, en tout cas, pour enfin la Filmer, la volcano Romain, after the rendezvous manqué d’Ossessione, film buff, 1942, “Neorealism.” And it’s also good for neorealism and its son, which is the issue in this film, with the casting of little lovers in the studios of Cinecitta, in search of the most beautiful babe from Rome. “But also the illustrations behind the best promises in the world of cinema, which do not distinguish what is more modest for me…”Anna Magnani strived for the light of the film, dès le début, lorsqu’on la voit s’extraire d’une foule aux portes de la Cinecittà, ce monumental decor against lequel les outsiders s’écrasent. And I understand this power of appearance, of seduction, that the film will be a temple. Ce quin nous renseigne is also the tension that inhabits this story, perhaps this mother of ours argues, but does not pay attention to the damage to the figure of intrigue, sa petite fille Maria. Beautiful est donc l’histoire d’une femme du peuple qui va seigner pour faire de son enfant une vedette, et vivre ses rêves de grandeur par procuration. Quitte à oublier de prendre, considering the desire of this little Mary who wanted. The film is seduced by the baroque cat of adoration, de la measure de la mother, which decays in the economy of the foyer for payers of theater lessons, de dance, and at the same time when it is necessary to sacrifice a la bouche. More Visconti was a perfect pretender that the script serves as an excuse to get on the podium of a comedienne, at a moment in time, il fait de Beautiful A monument for little girls and legitimate women. The car of this petite actress, c’est déchirant à voir, va traverser le movie en pleurant. And now you are a cult camera in its figurative sense of the word, with an absolute de souffrance that is not a stage direction.“

Sound effects

• Excerpts from May Decemberr, Todd Haynes (2023)
• Music Messenger Michel Legrand, revisiting Marcelo Zarvos
• Mix of weekly flights
• Excerpts from BeautifulLuchino Visconti
• General debut music BeautifulFranco Mannino, after that Elixir of love from Donizetti