The Northman, Nitram, The Duke… The movies to watch or avoid this week

The bloody revenge of a young Viking prince, a news story that plunged Australia into mourning, a Robin Hood stealing a Goya painting in London… What should we see this week? Discover the cinema offer of figaro.

the Norman – To have

Action by Robert Eggers, 2:17

Robert Eggers puts the action in the Vikings on the Xe century. And it moves. The young prince watches helplessly as his father is murdered by his uncle. The child will swear revenge. For this, he will have to go by boat on a raging sea, colonize distant lands, pretend to be a slave before returning to his native land. You follow ? On the screen you see mud and blood, molten lava and sweat. Eggers does not give in to minimalism. Welcome to mythology. The cast is on point. Queen Gudrun hides her game: it is the unchanging Nicole Kidman, on whom the years pass without a trace, but it is the role that wants it. Ethan Hawke dies on the first reel. Willem Dafoe is a hothead. Björk turns into a clairvoyant (her outfit already is). Anya Taylor Joy (The women’s game) walks her alabaster complexion in this universe of cruelty. AND

Nitram – To have

Drama by Justin Kurzel, 1h50

It’s nothing to say. He’s, shall we say, weird. Martin has freckles, long fluffy hair, an oddly pale, almost translucent body. His friends call him Nitram and switch the letters of his name. It is clear that the boy is wrong. He doesn’t listen to anything. People call it « loaned »† Translate: delayed. The family is distraught: the father, dilettante or spine, seems overwhelmed by the events. The mother is more fart dry. She smokes cigarette after cigarette, sees the teenager sinking into a universe she doesn’t have the keys to. A dull anger boils in him. Nitram will cause a fatal car accident on a whim. Of NitramJustin Kurzel (Macbeth) traces a news story that Australia has lost. He describes an imbalance locked in his loneliness who might not have been enough to save. The amazing Caleb Landry Jones lends his gentle figure to this poor hero. We won’t tell you the only way he was able to erase these childhood traces that sometimes lit up his face. The movie is poisonous. It rustles with terrible evidence. AND

The Duke – To have

Comedy by Roger Michell, 1:35

A true story that ended in a James Bond. The hero is a 1960s Robin Hood, a sixty-year-old cabbie who is as funny as he is eccentric: Kempton Bunton epitomized with great charm and playfulness by a Jim Broadbent at the top of his game. Working-class, this eccentric retiree lives in Newcastle with his wife Dolly (excellent Helen Mirren). In the district, vans equipped with radar control the households that have a television set so that they pay the television license. An unbearable injustice for this man nailed with altruism, who gets carried away at the slightest unequal treatment. One day, the National Gallery in London orchestrated thunderous hype around the portrait of the Duke of Wellington painted by Goya, which was eventually bought by the Crown for £140,000 to prevent the painting from falling into the hands of foreigners. It’s too much for this modern Don Quixote. Led with panache and agility by the late Roger Michell (1956-2021), The Duke blending the social cinema of a Ken Loach with the irresistible carelessness of English comedy with an all-British know-how. OD

turn to live – To have

Documentary by Philippe Azoulay, 1 hour 45

As surprising as it may seem, there is Tintin in Claude Lelouch. At least that’s how Philippe Azoulay portrays him turn to live, tasty and endearing documentary in which he as his shadow the director of . followsA man and a woman for seven years, during the shooting of three films. Like Hergé’s tireless reporter, Lelouch travels the world in search of adventure. The route of this spoiled child of cinema goes through highs (very high) and lows (abyss). Azoulay tames this filmmaker who pulls out all the stops, with insatiable curiosity, who improvises his films, awakening Johnny Hallyday, Jean Dujardin or Elsa Zylberstein. From a tamed eagle that escaped to spiritual and disturbing India, we run after this octogenarian director who believes in the incredible fruitfulness of chaos and who will never stop making cinema, even if it means dying with a camera in the dark. hand. O. D

The school at the end of the world – You can see

Drama de Pawo Choyning Dorji, 1:49

In this first film, director Pawo Choyning Dorji walks between the two sides of Bhutanese society by sending a teacher not to Australia where he would like to emigrate to become a singer, but to the most remote village in the country at 5000 meters above sea level. † In the village we wait with great pomp for him. And besides, the inhabitants of the village of Luana play their own role here, during these shootings that were not easy. It took about sixty mules and horses to transport the equipment. On site, the director only had one camera and not enough electricity to view the images of the day… This could explain the sometimes clumsy staging. For school children, it is more natural to pet the yak at the back of the class during recess. In addition, this one died of old age at the end of filming, just after coming into the light… He will not have tasted the success he met The school at the end of the worldselected for the Oscars in the category of best international film in 2022. A first for a Bhutanese production. BP

brave hearts – You can see

Drama by Mona Achache, 1h25

Between historical narrative and fable, Mona Achache’s latest feature film deals with the plight of Jewish children who were hidden during the occupation in the summer of 1942. A group of young Parisians arrive at the Château de Chambord, which has become a protected center. The Mona Lisa and whose children used a transport of boxes of works to leave the capital. The adult characters are inspired by figures of the resistance: Rose Valland (Camille Cottin), curator of the Jeu de Paume museum and Pierre Schommer, responsible for depositing works in Chambord. Freed from historical constraint, even as she draws on the memories of her own grandmother, who was herself a hidden child, Mona Achache manages to give grace to her words. The adventure of “Brave Hearts” makes the youngest aware of the fate of those who had to go into hiding during the war and reminds parents of the role the castle played in preserving works from 1939 to 1945. CB

Carnival – You can see

Drama by John Paul Felix, 1 hour

Cabra, a pre-adolescent in pain, surrenders to a small smuggling company to pay for dancing boots. This stupidity brings his father, his somewhat absent mother and his stepfather with whom he cannot stand to meet. Quite accurate in its description of family relationships, this first Argentine film takes a hybrid form, borrowing both documentary and thriller. Surprising but uneven, sometimes a bit too exploited by the naturalistic vein. BP

Utama: The Forgotten Land – to avoid

Drame d’Alejandro Loayza Grisi, 1hr 28

On the Bolivian highlands, crushed by an immense Riviera sky, an old couple watches over llamas. Life is hard, drought is cracking the earth, progress is anchored in the cities. Their 20-year-old grandson comes to try and convince them to join the family. Distinguished at Sundance, this first Bolivian film doesn’t lack appeal, but sins through its postcard side. The majestic landscapes, as beautiful as they are, are not enough to overtake an agreed-upon plot. OD

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