The films showing: “Tiger Stripes”, “Nome”, “The Sweet East”, “There is still tomorrow”…


This week, a Malaysian director explodes all the codes of the model young girl, the Guinea-Bissau filmmaker Sana Na N’Hada retraces the war waged against the Portuguese occupier, from 1963 to 1974, in a captivating fiction, and Sean Price Williams, American cinematographer, for twenty years, of the big names of independent cinema, signs a first feature film: a picaresque tale to denounce the neuroses of his country.

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“Tiger Stripes”: puberty filmed in gory version

Few debut works are as uninhibited as Tiger Stripes , by Malaysian director Amanda Nell Eu. This horror film about puberty takes the reproach that heaps on chubby teenage girls literally: “Behave yourself!” »

In a rural community, on the edge of the jungle, Zaffan (Zafreen Zairizal) literally exceeds the role of model little girl that her mother and her teachers want to assign to her. When her first period comes, her body becomes the scene of disturbing metamorphoses, which reveal her fury and rage.

Borrowing from the Hong Kong B series of the Shaw brothers in the 1950s and 1960s, Tiger Stripes is a riot of kitsch special effects, with cartoonish characters, accelerated movements, trances and screams… Interspersed with scenes captured on the phone portable – by the young actresses themselves – the film reflects, with astonishing freedom, the contemporary adolescent experience where it is no longer just a question of examining oneself in front of the mirror but through the image reflected by social networks. Mr. Dl.

“Nome”: in the footsteps of warriors in Guinea-Bissau

The rare gem of the week is called Nome , the third feature film by Guinea-Bissau director Sana Na N’Hada. Either, an autobiographical fiction which does not only retrace the war waged against the Portuguese occupier, from 1963 to 1974, before the “carnation revolution”, in 1974, in Portugal, and the declaration of independence of Guinea-Bissau , a small country in West Africa. Its fantastic texture is enriched with archives of the guerrilla war, silent, parasitized, filmed by the director at the time, with the aim of documenting the struggle.

The film is never as beautiful as when it shifts into the past, working the transition through a succession of collages. Here we are in the footsteps of the warriors, in mind-blowing plans. Furtive moments of patrols, in uniforms that have taken on the color of the earth. Women in red outfits, all lined up, cleaning the butts of weapons.

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