New features have appeared on the Crave platform. Here is a list proposed by our columnists and journalists.
In Memoriam
You will need to activate your subscription to the Crave platform “pronto” to follow the most original and captivating Quebec series of the spring, the psychological thriller In Memoriamwhich resides at the intersection of Succession And The Hunger Games, with a hint of real-life TV influence. It’s super catchy and twisted as a proposition. We would feel like swallowing it all in one go.
Hugo Dumas
Crave will post episodes online at the rate of one hour per week. The first two episodes have been available since March 28.
Gamma rays
As a spiritual sequel toWest of Pluto, Gamma rays is a captivating fresco about adolescence that does justice to the complexity of this time of life. And which stays far away from the caricatured representations that are too often reserved for young people.
Audrey-Anne Blais
The sting of thinness
The director and screenwriter of The sting of thinnessÉmilie Ricard-Harvey, advocates awareness and education to prevent, in advance, the use of these so-called “magic” drugs.
Hugo Dumas
Spencer
The more fragmented form favored by Pablo Larraín, supported by the – excellent – musical score of Jonny Greenwood, will appeal to those who agree to enter a work echoing the inner world of a woman stuck in one of the most dramatic periods of his life.
The Press
The Menu
Mark Mylod, best known for directing the series Succession, establishes a tense climate by making the most of the unique space in which the plot takes place. And in which the characters constantly evolve. It initially emanates good suspense, as well as a fierce satire of the upper bourgeoisie and the culinary elite. The Menu (The menu in French version) is a scary thriller. And it still makes you hungry…
The Press
Simple like Sylvain
Monia Chokri’s finely crafted dialogues, steeped in her typical humor, sometimes cynical, always effective, form the framework of this story full of tenderness and self-deprecation about thwarted loves, physical and platonic, as well as the hypocrisy of certain social constructions. There is nothing Manichean or simplistic in Simple like Sylvain. Monia Chokri does not judge her characters, for whom she clearly has empathy, affection and, of course, love.
Marc Cassivi
Happy Days
By betting on staying as close as possible to the actors, and in particular Sophie Desmarais, thanks to close-ups or a hand-held camera, Chloé Robichaud plunges into emotion. We spy on his actions. We feel like we’re in his head, measuring his hopes and disappointments, guessing his performance anxiety. To dive with Emma into what she controls, tries to control, and cannot control. This is what makes Happy Days a cinema object as free as it is moving.
Marc Cassivi
Richelieu
Marc-André Grondin is effective in the role of Stéphane, the brittle and inflexible boss. His performance, although it doesn’t stand out, succeeds in portraying this skillfully written character, who, if we look at the details, is far from being just a tyrannical leader. We can’t wait to see what Pier-Philippe Chevigny has in store for Quebec cinema, because his signature as director certainly has the potential to serve social justice. This shows that it’s not just the documentary that can be engaged.
Audrey-Anne Blais
Solo
In Solo, Théodore Pellerin is grandiose. This actor is in a class of his own. He makes us feel the whole quest, Simon’s dizziness in the slightest look. This is an exceptional performance. Despite these blunders, SOLO remains a flamboyant, touching and liberating film. The Sophie Dupuis touch is the marriage of sensitivity and freedom. This filmmaker lets her heart speak in every shot.
Luc Boulanger
Humanist vampire seeking consenting suicide
That the detractors of Twilight be reassured: apart from Denise’s dress and flamboyant leonine hair, which evoke the ugly Victoria, nothing in Humanist vampire seeking consenting suicide does not recall the cutesy frankness relating the tumultuous loves of Edward and Bella. In fact, it is rather from independent cinema that director Ariane Louis-Seize draws her inspiration.
Manon Dumais
The red rooms
This film, imagined during the pandemic, explores a multitude of contemporary subjects – fascination with serial killers, conspiracy theories, urban solitude, the power of the image – while taking care to recall the extent to which violence corrupts screens and society, dehumanizing his flesh and blood beings. Enough to get lost in the depths of these Red rooms which turn out to be, first and foremost, a fascinating exercise in style delivered by one of our most gifted aesthetes.
Martin Gignac, special collaboration