Cinema releases: “Priscilla”, “Jeunesse (Le Printemps)”, “Iris et les hommes”…

Cinema releases: “Priscilla”, “Jeunesse (Le Printemps)”, “Iris et les hommes”…



The first week of 2024, which is a vacation period for many, offers great opportunities to escape thanks to the cinema. To discover the life of Elvis Presley’s young wife, Priscilla, as seen by Sofia Coppola, to share, in China, the emotions of young workers in a textile factory wonderfully filmed by Wang Bing in Youth (Spring), or find Laure Calamy in a comedy, Iris and the Men , where the actress fully plays on her whimsical rope.

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It’s the story of a teenage girl who grows up and becomes an adult in an unusual world. When Priscilla, 14, meets Elvis Presley, ten years her senior, she is very bored on a German US Air Force military base, where her father and the singer officiate. A young virgin led, by friends of the star, to the altar of Love Me Tender, the schoolgirl recalls from afar the daughter of the Emperor of Austria staged by Sofia Coppola in 2006, Marie-Antoinette.

Less decadent than the misunderstood archduchess sold to Louis XVI, Priscilla (Cailee Spaeny, Best Actor at the Venice Film Festival) imagines for a time having hit the jackpot – true love, luxury, fantasy – before letting himself be absorbed by the life of the King (Jacob Elordi) who finds himself incapable of consummating their marriage. A variation on adolescence, the film also deals with consumer society, housewives, husbands, the 1960s, rock’n’roll, drugs, and tells, through the illusion of beauty life, the fear of solitude and boredom. Mr. Dl.

“Youth (Spring)”: emotions of young Chinese workers in the shadow of the machines

If Wang Bing had already filmed the textile workshops of Huzhou in Argent amer (2016), Jeunesse (Le Printemps) immediately stands out as his most radiant film, carried by the vital energy of the very young people who inhabit it . They are in their twenties, sometimes even a little younger, flock in droves from neighboring provinces and constitute the forced labor force of the teeming factories of Zhili, which only operate part of the year (seven months out of twelve), when the climate allows it. With time being limited, and wages paid on a piece-rate basis, mechanics are working at full speed with extensive schedules that run from early in the morning to late in the evening.

Wang Bing tours the brands, small family businesses that all operate on the same model. A glimpse of this workshop town gradually emerges where factories follow one another along the length of the street, where there seems to be nothing apart from tailoring. We live there among the piles and scraps of fabric, an infernal patchwork of materials and waste. With promiscuity helping, the young residents argue and bicker, it’s all flirting, the first scenes being devoted to the concrete problems that result: untimely pregnancies, abortions, affairs of misalliance, distraught parents, etc. Wang Bing devotes, moreover, splendid passages to adolescent love, to what happens between boys and girls, matters of trifle which mark in his work a breath of lightness, of evanescence. Mr. Mt.

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