THE MORNING LIST
This second week of operation of the year 2024 turns out to be meager in terms of releases. A motif emerges: the unfortunate condition of children, alternately abandoned ( Scrapper ), forced by poverty ( If only I could hibernate ) or victims of the turpitude of adults ( Un silence ).
“Scrapper ” : an abandoned little girl teaches her immature father about life
In a working-class suburb of London, 12-year-old Georgie (Lola Campbell) lives alone in the small house she always lived in with her mother, who recently died of illness. Since then, the little girl has been getting by, deceiving social services by making people believe in the presence of an uncle at her side and, to meet daily needs, stealing bicycles with the help of her best friend, Ali (Alin Uzun). It is this young heroine who, in Scrapper , the first feature film by British director Charlotte Regan, leads the way, sets the tone, determines the point of view of the film which thus keeps the drama at bay. And produces, instead, a fantasy mixed with gravity, halfway between comic strip, tale and social comedy.
And then, without warning, his father returns. However, she cannot bring herself to chase him away and agrees, with a sullen face, to welcome him into her home. We know the rest, which will endeavor to describe the journey strewn with pitfalls, incomprehension, failures and small victories which this late and adolescent father will have to face, to succeed in taming, then conquering his girl, more adult than him. Georgie finds in Lola Campbell an interpreter as touching as she is irresistible, from whom emanates something marvelous which gives all the charm to the film. V. Cau.
“Making of”: cinema, or neurotic tragicomedy
In the series cinema reflects cinema, Cédric Kahn, fresh from The Goldman Trial , offers this multi-take social comedy. Simon (Denis Podalydès) is a director who begins filming a fiction film about the fight of workers fighting to save their factory from closure and take it back into self-management. Quite quickly, however, the scope of the struggle extends to the filming itself. Underfunded at the start, the film in fact pays the price of a lousy producer (Xavier Beauvois, perfect) who promises a lot, delivers little, and ends up disappearing into the wild when the situation becomes unmanageable.
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