Cinema releases: “La Rivière”, “Mars Express”, “Rien à perd”, “Napoléon”…

Cinema releases: “La Rivière”, “Mars Express”, “Rien à perd”, “Napoléon”…



Disappearances, losses and even scraps of film are notably on display this week: a nature in distress in La Rivière , by Dominique Marchais; an amputated humanity in Mars Express , by Jérémie Périn; a mother deprived of her child in Nothing to Lose , by Delphine Deloget; a Napoleon in disarray and lovesick, in the latest Ridley Scott, among others.

Do not miss

“The River”: and in the middle flows the ecosystem

Never, without doubt, has Dominique Marchais captured as much beauty as in his fourth feature film, La Rivière , filmed in the Gaves of Béarn, these torrential rivers set in idyllic nature.

A shimmer creates stroboscopic effects on the screen… Perhaps it is a question of softening the pain, while the slow degradation of the landscapes, already pointed out in the previous works ( The Time of Graces , The Line of Divide of waters …), continues irremediably. In his cinematic melancholy, the director sublimates the splendor while showing the disaster in progress: water pollution, scarcity of fish…

In The River , there are hardly any walkers, only beings who act, without having any illusions about the importance that the “politician” will give to the work of academics. Suffering from disappearance, from insects which no longer form flocks around fishermen, from birds which no longer sing. Dominique Marchais sets out in search of the invisible, films the actions of experts taking clues from beneath the surface (water, soil), and it is in the sub-landscape that this work operates in fresh water and radical. Cl.F.

“Mars Express”: androids and plastic finds

The first feature film by Jérémie Périn, born in 1978, revealed with the Lastman series (2016-2022), spawns with the cyberpunk fringe of science fiction, a dystopian imagination little visited in France.

Aline Ruby, an alcoholic in recovery, and her teammate Carlos Rivera, a “saved” android model to whom the memory of a dead person has been transferred, form a duo of private detectives in the pay of tech mogul Chris Roy Jacker (as a futuristic clone of Elon Musk). They are investigating a student who disappeared following illegal work on “unleading” robots, a software operation which aims to emancipate them from human supervision.

If Mars Express immediately convinces us of the interconnected world that it presents to us, it is because it does not seek to justify it in any way, but shows it directly in operation, greedy for the modernist notations that accompany it. always a plastic find. Above all, Périn and his co-screenwriter, Laurent Sarfati, have strived to create entities – androids, holograms, hybrids – which cover the entire range from the human to the non-human, from the body to its abstraction, resting in each scene the question of being and its limits. Ma. Mt.

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