Films showing: “Siegfried's Diaries”, “Night River”, “The Teachers' Room”, “Shikun”…


This week, cinema fans have the choice between discovering the latest Terence Davies, Siegfried’s Diaries , in the footsteps of an anti-war poet; follow this kimono designer in Night River, by the Japanese Kozaburo Yoshimura; or this young Jordanian widow who fights for her autonomy, in Inshallah a son , by Amjad Al Rasheed; and he will not miss Irène Jacob who denounces a world in distress in Shikun, by Amos Gitaï.

Do not miss

“Siegfried’s Notebooks”: a poet against war

The death of the British filmmaker, Terence Davies, on October 7, 2023, while he was working on the short film that the Center Pompidou had commissioned from him on the occasion of the retrospective devoted to him until March 17, sheds light dark on Benediction , which became Siegfried’s Notebooks while crossing the Channel. However, this film should not be reduced to its funereal dimension alone. Often futile, sometimes comical, the poet’s existence is an ideal vehicle for the author of Emily Dickinson, A Quiet Passion (2016) .

The spectacle of the Notebooks… shares the inconsolable pain of a man for whom the war was the occasion of his greatest accomplishments, as a soldier, as a citizen and as a poet, and a wound which has never healed. The staging involves, as in all Davies films, a sober elegance – in the frames, the camera movements – which allows you to go straight to the emotion, streaked with irony, even burlesque. T.S.

“Night River”: a woman on a free course

The release of the unpublished Rivière de nuit (1956), in a brand new print, draws attention to the name of Kozaburo Yoshimura (1911-2000), renowned for his numerous portraits of women, an exciting vein, including the Japanese production of The post-war period was fruitful, in that it made the feminine the outpost of economic and social changes. The enigmatic title resonates with the life of Kiwa (Fujiko Yamamoto), who travels against the tide. Indeed, the worker is an artist in her field and devotes herself to it body and soul, making splendid kimono fabrics, even if it means remaining single at the critical threshold of thirty.

Kozaburo Yoshimura does not take his heroine’s artistic vocation lightly nor does he use it as a decorative argument. This vocation finds, on the contrary, in each surface of the film, each section of reality, an opportunity to be reflected. Rigorous, geometric, the staging places the craftswoman at the heart of a vast web of characters who reflect on her as much as she stands out from them. This intermediate path that she traces while twirling between everyone, without letting herself be caught up in anyone or even the only man she loves, is called “independence”. Ma. Mt.

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