What to see this week? Here are our reviews of the latest films released in theaters or on a platform.
Lucy Grizzly Sophie : The bear and the doll
“The author’s dark humor and the director’s playful approach, both inspired by American thrillers from the 1980s, make this Lucy Grizzly Sophiea cryptic title which takes on its full meaning throughout the solidly crafted story, a jubilant psychological thriller during which the viewer will be fiercely confronted with their own prejudices,” writes our journalist Manon Dumais in her review.
Read the review
The Peasants : Alone facing the raging crowd
“The characters are portrayed so summarily and the story is riddled with so many ellipses that the whole thing turns out to be too lacking in consistency and captivating. Remains in this contemplative art gallery the warm homage to the Polish roots of DK Welchman which we discover thanks to its rich soundtrack and its lively folk dances,” mentions our journalist Manon Dumais in her review.
Read the review
The consent : The wolf and the lamb
“While the author meticulously dissected the influence her tormentor had over her, the filmmaker set about creating an anthology of empty words and unhealthy considerations about love drawn from Matzneff’s work. Failing to be a great cinematographic success, this Consent has the merit of doing useful work,” explains journalist Manon Dumais in her review.
Read the review
Kina & Yuk: foxes of the ice floe : The beauty of the Great North and its inhabitants
“We can’t blame the film for not being current. This depiction of the repercussions of climate change in the Far North inspires a desire to make a contribution to this fight. The feature film ends with a call to action: “Everything is still possible. It’s up to us to act!”, writes our journalist Véronique Larocque in her review.
Read the review
Girls on the run: The secret is in the suitcase
“Borrowing from the codes of road movie and films of sexploitation from the 1970s, Ethan Coen and Tricia Cooke made a film that failed miserably to entertain. The most embarrassing in Drive Away Dollsthis is the degrading manner of Ari Wegner, brilliant director of photography of the dazzling The Power of the Dog, by Jane Campion, to light and frame the actresses, particularly in the very crude scenes of a sexual nature. A disturbing anachronism,” writes our journalist Manon Dumais in her review.
Read the review