At war against boredom: meditation, soft zombies and squeaks

With Toulouse cassoulet “Hello, my anger! Hello, my aggressiveness! And my wrath, hello! ” The meeting is open. At the helm, a celebrity (promo 80s: Renaud, Guy Bedos, Cohn-Bendit, Yannick Noah …) awaits the indictment of the prosecution. At the desk, the prosecutor is called Pierre Desproges and makes the brocades rain on the defendant. France Inter’s flagship satirical program forty years ago, the Court of flagrant delusions canned a number of fashionable figures of his time, limply supported by their “Rotten lawyer on duty” Luis Rego, with a chic for digression (cf. the Toulouse cassoulet recipe) and an exultation of the palpable verb. All of these vintage pleas can be heard on INA’s streaming service, Madelen, which is offering three months of free trial to new registrants these days. No suspense possible: in the end, everyone is guilty.

Bhutanese painted thanka of Milarepa (1052-1135), Late 19th-early 20th Century, Dhodeydrag Gonpa, Thimphu, BhutanPhoto DR

With evil wizards Take out the incense sticks! It’s time for meditation. The Rubin Museum of Art in New York, dedicated to the art and culture of the Himalayas, offers from Thursday to Monday, via its Instagram site, to make English-speaking Internet users discover an object from its collection whose history will serve as point of support for a guided meditation. In about eight minutes, the edifying journey of Milarépa (1052-1135), an evil sorcerer who became famous yogi, can be completed, while a magnificent fresco depicting him, hand in ear, justifies taking a few moments for “Listen to the world resonate”. If the accent put on the inspiration-expires can cause a slight increase in anxiety for those who are just recovering from the Covid-19, no doubt that the benevolent look of the bodhisattva Tara, from his pretty golden statuette of the XIIIe century, will help them as agreed to ward off any physical danger.

Photo Philippe Dupuy

With revolutionary hens In a parallel world, this weekend was to be held the Pulp Festival, venerable still in which the comic strip tries various fusions with the living arts and the format exhibition. If we will not see anything from those devoted to Ulli Lust, Fanny Michaëlis and Lorenzo Mattotti, the Ferme du Buisson does not completely drop the authors originally invited. Having carte blanche on the site, the designer Philippe Dupuy reveals the secret life of “the Farm” there. The one led by the hens while the men live cloistered – the gallinaceous animals taking advantage of the sudden tranquility to embark on a scenic adaptation of the revolutionary Year 01 from Gébé. “We stop everything, we think, and it’s not sad.”

Photo Reynolds Pictures Inc. Arte

With the cream of nanars He called himself Akdov Telmig, Hank Barnum, Pete La Roche, Dick Trent, Eddie, Woody or just “The worst director in the world”, but Edward Davis Wood Jr was better known under the name of Ed Wood, incompetent and eccentric filmmaker, undisputed master of disaster and the near, who filmed like apparent cables, debilitating dialogues, transformed plates in flying saucers and false fittings. If you missed this non-monument of the 7the art, Arte offers you this month a perfect remedial course with the heartbreaking Night of the ghosts, the sorry Bride of the monster, but above all the unsurpassable Plan 9 from Outer Space (photo), nanar beyond nanars where extraterrestrials land on Earth to resuscitate the dead, spectacular failure which culminates in a burlesque face-to-face between soft zombies, aliens philosophers and operetta policemen, and whose ragged poetry has branded the imagination of people like Tim Burton or John Waters.

Yann Robin “Triades” for double bass, ensemble and electronic device. Photo Editions Jobert

With double bass coughing No more laughing. Turn off this series, throw up your chips and refocus on the cutting edge of the musical avant-garde to prove that this confinement was not in vain. Welcome the Ensemble intercontemporain (EIC). The phalanx created by Pierre Boulez and directed by Matthias Pintscher offers a series of recordings on his YouTube channel. We discover among others the new production of Yann Robin, Triads, for double bass, ensemble and electronic device. This order from EIC and IRCAM, where Robin, a former resident of the Villa Medici, was once a composer-researcher, recorded in February under the baton of chief Lin Liao, is a fairly good sensitive thermometer of the fear of the virus. It goes from the noise-like expressiveness of the strummers of double bass to scary tutti like a merciless cough that is on the way.

Guillaume Tion


Marius Chapuis


Sandra Onana


Lelo Jimmy Batista

The Court of Flagrant Delusions on Madelen.

Daily Offering on

Containment on the farmyard side on

Plan 9 From Outer Space ofEd wood on Arte’s replay.

Triads of Yann Robin on


Sarah Maldoror, the key to song

Maldoror, farewell!“Seems to greet her, several decades after she had decided to bear this name of revolt, the third song of Lautréamont’s poem. Filmmaker Sarah Maldoror died yesterday, April 13, of the aftermath of Covid-19, her two daughters announced. Born Sarah Ducados in 1929 in Condom (Gers), of a mother from south-west of metropolitan France and a Guadeloupean father, Sarah Maldoror has been the author of around forty films composing a multiple and rebellious work, made of fiction, documentary and poetry, and inaugurated with a combat song: the short film Monangambee, filmed in 1969 in Algiers where she lived then, which evokes the torture by the Portuguese colonial army of a sympathizer of the fight for the liberation of Angola, visited in prison by his companion.

Before becoming a pioneer of pan-African cinema, Sarah Maldoror lived part of her youth in Paris where, passionate about theater and received at the school of the rue Blanche (according to her comrade, the future Ivorian filmmaker Timité Bassori, they are among the first black students to enter), she co-founded in 1956 with the same Bassori, Toto Bissainthe, Ababacar Samb Makharam and Robert Liensol the company Les Griots, which became the first black theater company in France. The Tragedy of King Christophe of Aimé Césaire and the Negroes by Jean Genet (in a staging by Roger Blin) are among the pieces created by the troupe, which Maldoror presides for a time, with the material help and the intellectual support of Alioune Diop, founder in 1947 of the important Parisian anti-colonial review African presence.

One of the first African films made by a woman

In 1961, Sarah Maldoror left France and went to study at VGIK, the Moscow film school, before joining the African decolonization movements (in Algeria, Guinea and Guinea-Bissau) with her companion Mario Pinto de Andrade, met in Paris and co-founder of the Movement for the Liberation of Angola, in exile while the war of independence (1961-1975) against the Portuguese metropolis is raging.

It was in Algiers, where she moved in 1966, that she got her start on the cinematographic front of anti-colonial struggles: assistant on the Battle of Algiers by Gillo Pontecorvo (1966) and Pan-African Festival of Algiers 1969, documentary by William Klein, she soon makes her first film, followed by a lost film shot in Guinea-Bissau and a first feature film “fiction”, Sambizanga (1972). Filmed in the Republic of Congo, based on an Angolan novel by José Luandino Vieira, adapted by his companion Pinto de Andrade with the French writer Maurice Pons, Sambizanga takes place in 1961 and describes the repression of the Angola Liberation Movement from the point of view of Maria, the wife of a revolutionary activist imprisoned and tortured by the Portuguese army, who sets out to find him across the country. Shot with real actors in the fight then in progress, and one of the first African films directed by a woman from film stories, Sambizanga remains visible and visible today – it can easily be found on the Internet.

Many portraits of artists and writers

Leaving Algeria following a disagreement with the ruling FLN hierarchy (some sources mention that she was imprisoned and then expelled from the country), Sarah Maldoror moved to France, in Saint-Denis (Seine-Saint -Denis), and continues to make films. His work includes documentaries (filmed in Seine-Saint-Denis, Martinique, Guyana or Cape Verde for Fogo, the island of fire in 1978) and numerous portraits of artists and writers (the poets Léon Gontran-Damas, Aimé Césaire, Assia Djebar, René Depestre or Louis Aragon, singer Toto Bissainthe, musician Archie Shepp). Visible on the CNRS video library site, a short film from 1974, And the dogs were silent, filmed in the reserves of the Museum of the man devoted to the objects of black Africa, adapts extracts from the play of the same name of Aimé Césaire, with the actor Gabriel Glissant (seen in Sun O of the great Med Hondo) and the filmmaker herself in the role of the revolutionary’s mother, dressed in an ironic white scientist’s coat. But if there is a science of revolt, Sarah Madoror will have written, turned, played and acted on some of the biggest pages. You can hear it twice more than once, everywhere behind the scenes at the Museum of Man, the sound of fire.

Luc Chessel


“DEVS”, at the fractal stage

Too much to do with it in his almost obsessive demonstration of the interweaving of things, beings, death and the living, the mini-series techno-thriller of Alex Garland leaves a taste of roughly. .

Godard, not out of breath at the time of the Covid-19

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A world won for technology is lost for freedom: this is the last sentence of Jean-Marie Straub’s new short film, said from the back by a man who walks on the shore of Lake Geneva. France against robots (2020, 10 minutes for its two versions put end to end), anti-technological call to the revolution after a passage from the pamphlet of the same title by Georges Bernanos, and released on April 5 on free access on the site Kino Slang, is dedicated by Straub to his confined neighbor of Rolle, Jean-Luc Godard. It only took two days for JLG to respond to it in its own way, which always leaves chance to appear to be doing it right.

By responding live on Ecal’s Instagram account, the art school of Lausanne, to questions from the filmmaker Lionel Baier, for more than an hour and a half this Tuesday afternoon, for the attention of the confined connected of the planet, Jean-Luc Godard – “the coolest guy in the world“According to this comment from a user parading for a moment under the face, without mask but with cigar, of the Author – created, as usual, event. And it is perhaps in times of global pandemic that the elementary words of JLG could reach us even stronger than usual: tender and cruel, generous and reserved words, which never does anything but describe and unmask (his interlocutor wore well this protection currently put) the situation of enunciation where, at the moment, it takes place. What were we going to hear this time, publicized in live, from the electronic mouth of Rolle’s pythia, who did not read back the words of love passing in all languages ​​on the screen with emojis force, attentive and deaf to his fragile voice?

The virus is a communication, it needs another, to go to the neighbor, like some birds, to enter it. Like when we send a message on a network, we need the other to enter his home“, he said in essence, referring to information theory. And later again: The virus is a communication: like what we are doing … of which we are not going to die, but perhaps we are not able to live well. And Godard tells us again the formula of his recent thought, which opposes language (the one that fixes, with its alphabet, or with its capitalist progression curves, which show each day the current progression of the virus as they represent the rest of the time growth – critical genius of JLG) at language, which is a mixture of speech and image, and of which cinema is sometimes capable. Word and image, therefore, by a late afternoon in the sick world won for the technique, but which is not necessarily, with Jean-Luc Godard, completely lost for freedom.

Luc Chessel


Robert Bresson, crossed clashes – Culture / Next

“The important thing in my models is not what they show me but what they hide from me, and especially what they do not suspect they are in them.” Extracts from his Notes on the cinematograph, these words by Robert Bresson form a manifesto of the ineffable, a truth which is revealed only in self-esteem, of this conscience too regulated, too learned, which sounds false to want to say too much …

But beyond “models” – a term that the filmmaker preferred to that of actors, quite rightly moreover, since in fact of staging, by dint of repeated repetitions, repeated gestures, repetitive sentences until to the dull whiteness of the voice to strip all psychology, it was a question of “modeling” – it is also the fate of its heroines that can be read in filter. Daughters of dereliction, less haunted by the evil that they are contaminated with, this evil which strikes them, to which they consent resigned, by the necessity of things, or by that which they did not suspect precisely in them . Their existence is only a chain of events without follow-up, shots of a penknife in the fabric of a story to which no interior voice seems to give shape. The figure of evil no longer even needs to incarnate in a diabolical causality, fate is more than enough. And the title of one of the most beautiful films in the world, Random balthazar (1966), gives its full measure, chosen for rhyme, for its religious reference to one of the three wise men and for the associated idea of ​​a life tossed about haphazardly, as they say. There had to be a completely innocent being who “All humility” and “All holiness”, will say Bresson, to testify to human vices and passions, that they are called pride, greed, cruelty, lust.

Drudge. Random balthazar portrays a donkey, from his early childhood, made of games and caresses, to his death, at the end of a life of toil and mistreatment. Martyrdom he endured stoically, with the humble grandeur of beasts. In mirror, the awakening of a young girl with a sensuality as brutal as imperious – Marie (Anne Wiazemsky in her very first role), whose destiny seems to be reflected in that of the animal. We discover her as a child, as it seems to us colt, both bathed in a universe of rituals – the oaths of love that she exchanges with her little neighbor, the baptism of the young equine. A tenderness bath where harshness is not already excluded. And then soon the world and its roughness overtake them, her docile beast of burden under the pack and the blows of the various masters who will cross her path, she rebels prey to the passions of those around her – the poor pride of the father who takes her away from her love of childhood, the desire of the young thug, which she confuses with his nascent, the greed of the grain merchant (interpreted by the writer and painter Pierre Klossowski) who sees in it only a commodity. Balthazar and Marie have in common to oppose to this world, a pure otherness, which for the young girl is resolved in the flight, and for the donkey is manifested in long opaque looks, in particular those, of a startling strangeness that ‘he exchanges with the animals of a circus, and that Bresson summons in a sublime series of counter-fields.

Mouchette by Robert Bresson with Nadine Nortier, 1967Nadine Nortier in Handkerchief (1967). Photo Rue des Archives. GDR

Valley of tears. Distancing, absence of psychology, parsimony of speech, attention to gestures, objects, hands, what is circulating, invisible, rain, wind in the groves, sensuality of the elements, poetry of space … We find this same grammar in Handkerchief (1967) that he produced the following year, this time drawing on the eponymous novel and the metaphysical obsessions of Georges Bernanos, from which he had already adapted the Diary of a country priest. Again no “Story”, but “Image reports” he will say, a dazzling sense of the ellipse so that emerges without showing anything the secret of a 14 year old girl, alone against all, small country girl drowned in a sordid daily more desolate than a valley of tears and that she too endures, valiantly, wild, stubborn, limited, but won over by silent tears which run down her cheeks when life overflows.

Hardness ? Of course, the dying mother, a young little brother she must take care of, a drunk father, loneliness at school, at home, in the village, everywhere all the time, and here she is also forced to serve alibi to the poacher Arsène, who killed the rural guard, at least he believes it. He will get drunk and end up abusing her. A young girl hunted down like game, wood pigeons and hares, whether we hunt snares or buckshot, Mouchette accepts this poor destiny because he is not one. Stranger to her own life, everything slides over her in spite of the tears, nothing makes an event, not even her suicide, draped, like a soiled bride, in a dress of torn tulle, which begins as a game, which is a possible to be…

Nathalie Dray

Random balthazar (1966), 1:35; Handkerchief (1967), 1:21 a.m. Robert Bresson € 19.99 for Blu-ray (Potemkine).


At war with boredom: Melvillian gangs, bumblebees and a “Te Deum”

With manly jaw clenches

When it comes to nominating a filmmaker’s best film, the discussions come alive. But when the Melville file arrives, everyone is silent, taken aback. Faced with the monolithic filmography of the master of the French thriller, can we really choose? Instinctively, many will respond the Samurai, it’s obvious. Before replacing it Army of Shadows or the Red Circle. Let’s end the debate: the Second Breath is the room of choice. Relentless gang war between Paris and Marseille led by Lino Ventura, while hatred returned and refereed by a Paul Meurisse more perfect in tempo than ever, the film tells the desperate dance of a bandit inhabited by a sacred fire that he cannot resolve to see decline. It is, like all Melville, beyond the thriller a pure moment of pessimistic philosophy. And if you don’t want to concede that it’s its best, at least recognize that it’s the most bubbling.

With a duo at donf

Neo-troubadour Richard Dawson confined to his house in Newcastle-Upon-Tyne, we could have expected a new collection of brutal drinking songs, cracked with symbolist poetry and howls, in the terrifying image of his classic The Vile Stuff. It would be bad to know the animal of the Old North, also a prescient improviser within Hen Ogledd. With Sally Pilkington, member of the group and his companion in the city, he formed Bulbils, a duo of domestic improvisation intended to occupy the days and nights of confinement but also to nourish spiritually those who would have the good idea to connect to their site (a Bandcamp page). Every day since March 22, the couple publishes a mini-album to listen to or download at free price, filled with drones of toy synths and accordion, germ techno and languid electronic cavalcades. It’s nothing to say that the result is the reverse of useless – music that helps time flow more straight, more humanly.

With art as a lifeline

While museums and art centers have lowered the curtain, can our rescue come from performances on the Net? Meetings for live art, that’s what Art Will Save Us, a Düsseldorf site created by Rosy DX, a digital creation studio, offers. During confinement, artists will perform via Zoom, YouTube and Insta-Livestreams. Alain Bieber, artistic director of the NRW Forum museum in Düsseldorf and member of this independent non-commercial project, maintains that “The live moment is important because many artists are isolated. Our first artist comes from Alsace, a particularly affected region. “ Thomas Mailaender has already unveiled a wacky collection from a Queyras garage … Next meetings: a tarot session in videoconference with artist Esben Holk (Jennifer Aniston Superfans), a trip with Dani Ploeger, great GPS hacker, an illustration session at the piano by pianist Paul Frick and illustrator Yves Halter or a chat with Cynthia Montier. The site also collects donations for the most fragile artists of the independent scene.

With a balcony and some trumpets

We no longer really know what it is for or what it defends but it is so: the national conservatories of music and dance of Paris and Lyon, associated with the Baroque music center of Versailles, urge all professional and amateur musicians to be interpreted every Friday at 7 p.m. on their balcony, a “Symphony for the time of confinement”, in this case an extract from the Te Deum by Marc-Antoine Charpentier (1643-1704). And not just any, since this is the old generic of Eurovision, so dear to our ears. The operation is logically called Eurobalcon, and the scores can be viewed online.

With a valid passport

This is an ideal time to devote time to exploring the podcast and video collection of conferences at the Collège de France, a venerable high-caliber knowledge institution that regularly sells out. Classes have been suspended but you can continue to learn by browsing for free in the online archives. We particularly recommend for those who want to escape the long cycle of research launched since 2015 by the sinologist Anne Cheng who intends to question the extreme centrality of China: “Is it justified to speak of” China “as if it had always constituted a massive, self-referential and self-sufficient entity, as it claims to be today?” To do this, she exposes the interest carried very early by Chinese scholars and travelers as well for the cultural and religious specificities of neighboring India (long known as “Shendu”) and those of Japan.

Didier Péron


Clementine Mercier


Guillaume Tion


Olivier Lamm


Lelo Jimmy Batista

In replay on Arte


Fernand Deligny, the poetics of autists

Fernand Deligny (1913-1996), teacher, educator, writer, amateur filmmaker, revolutionized special education, in particular through his work with autistic people, whom he delivered from psychiatry by inventing places to suit them. He did not seek to “cure” them but to allow them to live with others. Not by adapting them to our world, but by letting them flourish in theirs, which may have something to teach us. According to him, autistics are characterized by their way of staying out of language and intentions: at home, to act does not become make, their actions have no causes and do not imitate anything. Observing them, understanding them, could help us to get out of our own confinement in language. Making a documentary that claims to be faithful to this unconventional man is a challenge. During the latter’s lifetime, and with his complicity, Renaud Victor produced two magnificent ones – That kid (1976) and Fernand Deligny, about a film to be made (1989). Today, Richard Copans also declares that he does not want to make a “on” but rather “with” Deligny. As the latter is no longer there, he restores his word through his texts, in a voiceover where Jean-Pierre Darroussin, not content to read, truly interprets his role. Copans was mainly interested in Deligny’s relationships with the images. Considering the camera as a “Educational tool”, the one who was the friend of André Bazin and then of François Truffaut regularly filmed bits of films with the children he looked after. He had invented a word to designate their way of using the camera to produce “Autistic images”, without intentions and who say nothing: camera. In 1971, these experiences gave birth to a film unlike any other : the Least Gesture. Modestly, Copans reports on all this without trying to take himself for Deligny, but by precisely following his steps, those of his life as much as those of his thought. He does not just cite it but returns to the landscapes where he lived and finds objects that belonged to him. The result is a serious, dense, captivating biographical portrait.

Spectators will have access to the film on TVOD at a cost of € 4 exclusively on the Shellac site, and on the platforms of La Toile, the VOD service for your cinema, for the first two weeks then in partnership with Universciné.

Marcos Uzal

Mr. Deligny, efficient wanderer of Richard Copans (1 h 35).


Films and series: it no longer turns

It was to be expected: with the recommendation or the obligation to work remotely and the impossibility of meeting with anyone other than yourself, for leisure or work, outside the home, many shootings are in progress postponement or shutdown until further notice. For example the one, dantesque, of suites ofAvatar which took place under the direction of James Cameron in New Zealand; or that of Shang-Chi and the Legend of the Ten Rings, the next episode of the Marvel / Disney multi saga; or the musical Cinderella by Kay Cannon and James Corden, being filmed in the UK with pop starlet Camila Cabello or Missy Elliott. Even more impressive, the India Motion Picture Producers’ Association announced Monday the suspension until at least March 31 of all filming on Indian territory, freezing production in all the strategic places of the country, from Bollywood (Mumbai) to Kollywood ( Chennai).

Locking of entertainment stocks

Finally, it is the series themselves, on which many of us count very much to survive until the end of confinement, which are stopped. That of the gargantuan Lord of the Rings $ 1 billion budget from Amazon Studios should not penalize the home delivery giant’s balance sheet, which announced on CNBC on Monday the upcoming recruitment of 10,000 people in the United States to offset the explosion in orders .

We are more worried about that adapted from Tokyo Vice by Michael Mann for HBO Max, the HBO SVOD platform, eagerly awaited by the admirers – including us – of the 77-year-old American filmmaker, in terrible need since his very underestimated Hacker of 2015, as much as readers of journalist Jake Adelstein’s book, documented first-hand into the underworld of the Japanese press and yakuza. What does not fail to confront us with a dizziness: what would we look at in case the health crisis keeps us locked up until the stocks of first-rate entertainment are locked? And what will the coming season look like if the machine is slow to start?

Gigabytes of amateur fiction

A precedent exists: when the strike of American screenwriters in 2007-2008 cut a number of series then in the air (Dr. House, Lost…) very many episodes and ultimately resulted in largely shortened seasons. In the case of a nuclear cultural disaster, we consider with a shudder that we can make up for it by exploring the gigabytes of amateur fiction located in the extended universes of Star Wars or More beautiful life who are undoubtedly turning to it right now in hermetically preserved maids’ rooms all over the world, from Moscow to Palavas-les-Flots.

Olivier Lamm


Death of Tonie Marshall, daring filmmaker

In cinema, she was what is called a ” daughter of ” By his father, American actor and director William Marshall, and his mother, French actress Micheline Presle, who at 97 remains a living legend of the 7the art. Far from being proud of it or denying it, Tonie Marshall had all the more respect for this inherited world that made her dream so much.

As a child, she grew up next to the Ursulines studio in Paris. His room overlooks the cinema projectionist’s cabin. From her window, she sees Bergman and so many others. Dreaming of an actress, without a baccalaureate, after having followed the drama lessons of Jean-Laurent Cochet, she turns in The most important event since man walked on the moon, by Jacques Demy. There are small roles in theater and on television. But the representation, the autographs … Very little for her!

Tonie Marshall then went on the other side of the camera, self-taught, in the late 1980s and made his ranges with Pentimento. Tell ” people’s life “Animates her,” she says, quite simply, to The cross in 1999. Director is a lonely profession, ” who must constantly impose on others a project that he is the only one to know in its entirety “, She adds.

Venus Beauty (Institute), the film with the four Cesars

A pugnacity which she displayed with majesty for her Beauty Venus (Institute). The idea for the film arises from his daily life. ” There was this little neighborhood lounge, just downstairs from my house. One morning I stopped in front of this storefront with red and green neon lights. I observed the interior, with these beauticians wearing their blouses, and I found this small company engaging and fun “, She explains to 7 days TV, in 2013.

Arte is the only channel to believe ” this little budgetless film that the whole team of actors shot with their hearts. ” Tonie Marshall builds her scenario around Nathalie Baye. Then surrounds herself with a generous troupe of actors: Mathilde Seigner, Robert Hossein, her mother Micheline (who played in almost each of her films) and the very young Audrey Tautou. The film is a triumph, with 1.3 million admissions.

This activist, member of the 50/50 collective in favor of equality between men and women is the first filmmaker and to date the only one, to have won the César for Best Director. Her last film, made in 2017, fairly aptly defined her: Number one.


The films to see (or not) this week

The films to see (or not) this week

Cinema outings.

What should you see at the cinema this Wednesday? Here is a summary of the reviews of our culture department. Click on the links to read the articles.

Kongo, by Hadrien La Vapeur and Corto Vaclav. To create the powerful portrait of a captivator in Brazzaville, the documentary filmmakers immersed themselves in the daily life of a country for six years, of which they portrayed mystical trials and rites without folklore. Read our report on site in Liberation last weekend.

The Good Wife, by Martin Provost. Sauerkraut with decorative effects, the film recounts flameless female emancipation in 1968 in an institution for young Alsatian girls.

Yiddish, from Nurith Aviv. Seven young people share their passion for this language discovered thanks to the great poets of the inter-war period.

Three Summers, by Sandra Kogut. The Brazilian filmmaker follows a domestic worker in a family that is falling apart with her foolproof energy.

The Heart of the Conflict, by Judith Cahen and Masayasu Eguchi. Around Fukushima and the film by Duras “Hiroshima mon amour”, Judith Cahen and Masayasu Eguchi combine politics and intimate life in an essay film which is too theoretical and a bit of a poseur.

A mermaid in Paris, by Mathias Malzieu . With his regressive poetry and his fake aesthetic, Malzieu drowns his subject under syrupy feelings.

Radioactive, by Marjane Satrapi. Far from the charm of her “Persepolis”, the director signs an inept biopic of the physicist Marie Curie.

Vivarium, by Lorcan Finnegan. The director films a young couple trapped in an agonizing housing estate that evokes suburban boredom, but the satire falls flat. Also read our portrait of Jesse Eisenberg.

A son, of Mehdi M. Barsaoui. In his first film, explore the dedication of two parents to find an organ for their son, sometimes with large features.