After Le Nom des gens or La Lutte des classes, Michel Leclerc continues to produce personal and original works, which do not fit into any box, and most of the time are served by ideally chosen actors. Here we follow Marcia, a passionate and slightly old-fashioned young singer, who takes a liking to Darédjane, a 1970s punk artist who has fallen into disuse, and convinces her to record an album with her, but the latter disappears. . And Marcia must now convince her beneficiary Anthony, a somewhat boorish professional character, to release the rights to her music.
With a fine range of characters, the director once again explores class relations, against a background of nobility or not of the cultural tastes of each other. Rebecca Marder is Marcia in the movie: “It raises the question of who has the monopoly on good taste? What makes a song that makes you dance, a little more “mainstream” would be less noble, less listenable, than a cello-voice song by example. It really raises this question. It’s a romantic comedy against a backdrop of class struggle, once again. And finally the two characters will end up switching places. “
The Tastes and colors is also an ode to culture, and more specifically to the way a work is thought out and produced, says Michel Leclerc: “I am especially attached to manufacturing, continues Michel Leclerc. In this case, in this film, the making of songs. I always dreamed of being a little mouse, and for example watching how Lennon and McCartney composed their songs, even if there is the documentary “Get Back” now which is great for that. But filming what a song is. How come we use one word rather than another? The relationship between a melody, a text, arrangements… it was really the “craft” side of the culture.”
In the cast, in addition to Rebecca Marder, we find an astonishing Judith Chemla who plays young and old Daredjane at the same time, Félix Moati credible and small strike with a big heart, without forgetting Philippe Rebbot and Artus, in supporting roles that are both unsympathetic and hilarious. .
“Elvis”, an overly broad and sometimes trying biopic
“One for the Money, Two for the Show”here it is, finally, this famous biopic of Elvis Presley signed by the Australian Baz Luhrmann, the one who recovers myths or classic texts to pass them through the mill of his pyrotechnic and saturated art (remember: Romeo + Juliet Where Gatsby the magnificent). Rebelote here, the 42 years of the life of the “King” are packaged in a long sequence of 2:40, with many passages elsewhere where the screen is divided into several parts to add a little more.
Elvis leaves a mixed impression, in the positive things we can salute the power of the musical sequences, or the inhabited and charismatic performance of the young Austin Butler. On the side of the defects, we can regret that the film nevertheless ticks the usual and chronological boxes of the biopic: childhood, glory and decadence, psychologizing attempts, or even this choice at the end to take real images of the King, without forgetting this annoying Baz Luhrmann’s near-sacrilegious habit of remixing Presley hits into often atrocious pop soups.
“El buen patron”, Javier Bardem in majesty
Finally, after phenomenal public success in Spain and six Goyas, the Iberian equivalent of Caesars, El buen boss by Fernando Leon de Aranoa arrives in France. The director finds in the main role Javier Bardem whom he had directed in Escobar. He is in this comedy, a cynical social satyr, a paternalistic boss with a speech dripping with good feelings, but with much less honorable acts. To flatter his ego and obtain yet another award for excellence, this entrepreneur who made his fortune by manufacturing scales, symbol of a sense of balance undermined by a scenario full of twists and turns, this provincial notable will stop at nothing . Thinking of mastering everything by firing a cumbersome employee, he must get his hands dirty in dirty work. Javier Bardem is delighted to embody a real bastard with an imperturbable smile and Fernando de Aranoa pushes the public towards guilty laughter in the face of this good-natured social violence.