The week’s cinema releases with Thierry Fiorile and Matteu Maestracci: “Le Ravisement” by Iris Kaltenbäck and “The Poet’s Bride” by Yolande Moreau.
In The Rapture by Iris Kaltenbäck, Lydia, a midwife – to whom the excellent Hafsia Herzi lends her features – is unceremoniously left by her boyfriend, and begins to wander around Paris, at night, between two guards at the maternity ward . She confides in her best friend Salomé, who herself will soon give birth. When this baby arrives, Lydia takes care of it a lot, to the point of monopolizing it. When Milos, a bus driver she meets at night, thinks that this child is his, she flips and affirms that it is.
It is precisely this theme of lies that particularly attracted the director, Iris Kaltenbäck. Inspired by a real news story, The Rapture is a very beautiful film, very elegant, very dignified, and difficult at the same time. The film does not judge its characters, it relies a lot on suggestion, the unsaid. Many elements on precariousness, class relationships, are evoked finely, without being harsh, without obviously forgetting the relationship to motherhood, at the center of the film, with almost documentary birthing scenes.
We really have to take our hats off to Hafsia Herzi, even better than usual, impressive even, and to the two other actors in the trio, Alexis Manenti and Nina Meurisse, who are also very fair.
The Poet’s Bride by Yolande Moreau
Yolande Moreau signs her third film behind the camera, and plays, in front of the lens, Mireille, who after a long absence, returns – one hand in front, one hand behind – to her village, near Charleville-Mézières. She is a canteen at the School of Fine Arts, occupies the family house in poor condition, and decides to sublet rooms to make ends meet, while doing some small business.
Around her, like a mother figure, gathers a pretty group of broken arms, a gardener who disguises himself as a woman at night, Grégory Gadebois, a Turkish undocumented migrant, the always funny Esteban, and a student of the fine arts. arts forger, discovery, Thomas Guy.
There is poetry, humor in this film, and love, with the return of the man who broke young Mireille’s heart, Sergi Lopez. It’s Yolande Moreau, melancholy, but with a concrete utopia, which gives hope to this friendly group, we feel the buddy film, it can’t do any harm…