Posted at 7:00 a.m.
(Cannes) Tribute to Chéreau
New autobiographical story by Valeria Bruni Tedeschi, this time around her years as a student at the theater school, The Almond Trees is also a tribute to the late director Patrice Chéreau (played by Louis Garrel, collaborator and former companion of the actress and filmmaker). The fifth feature film by the Franco-Italian director, set in the 1980s, focuses on a group of young people, beautiful, intense, dizzy, eaten away by their demons. From their auditions for the entrance examination to their integration into the famous theater school of Amandiers, until their interpretation of This crazy Platonov by Chekhov under the direction of Chéreau (who also directed Valeria Bruni Tedeschi in the film adaptation of the play, Hotel de France, presented at Cannes in 1987). This is perhaps the most accomplished of Bruni Tedeschi’s films. We find in the magnificent cast of new faces, including the Franco-Quebec actor Vassili Schneider. We let ourselves be caught up in the atmosphere, the rhythm and the enthusiasm of this young troupe who, at the turn of their twenties, are experiencing both their greatest joys and their greatest misfortunes.
Spider-Man
holy spider of the Iranian origin Ali Abbasi begins with this saying: “Every man ends up meeting what he seeks to flee. » Inspired by a news item in the holy city of Mashhad, in Iran, in 2000 and 2001, this feature film shot in Jordan tells the story of a serial killer who murdered about fifteen prostitutes. To counterbalance the police investigation which is stalling, a journalist from Tehran is carrying out her own investigation into the man whom the media have dubbed the “spider-killer”. She suspects the political and police circles of collusion. “He cleans them up. They’re not going to arrest him,” said the mother of one of the victims. The “spider-killer”, Saeed, a former soldier and father, claims to “do jihad against vice”. Some scenes of murder, by strangulation, are unbearable. holy spider looks like a thriller Zodiac by David Fincher – who becomes less credible the further the journalistic investigation progresses – but her interest lies above all in her way of depicting the status of women in Iran. It’s a kind of pamphlet against the ultra-conservative and misogynistic society that keeps women in submission and in fear of being humiliated and abused.