To devour on Crave | The Press

Music obviously plays an important role. Todd Field makes good use of the musical score of Icelandic composer Hildur Guðnadóttir (Sicario, Joker), just as much as the power of a large orchestra. That said, the outcome of the story, a little surprising, fits less well with the rest of the story, but the fact remains that Cate Blanchett, who achieves the feat of reinventing herself in each role, delivers her score as a true virtuoso.

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Raymond St-Jean rose to the challenge well by avoiding any glamorization of a man initially endowed with charisma, whose fall was as abrupt as his rise was rapid within the underworld of southwest Montreal. Supported by a solid ensemble cast, Éric Bruneau imposes himself in the role of Donald Lavoie by revealing both the implacable nature of a killer capable of coldly carrying out orders, as well as the more fragile aspect of a individual in need of validation. A credible portrait of a monstrous being who nevertheless does not have the appearance of one.

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Why hide all your life because you are ashamed of being homosexual and lie to your loved ones? Why lie to yourself? The difficulty of accepting the person you are, the secrets, the regrets. The film touches on these universal themes in a very simple way, going straight to the point, with very direct, very true dialogues. Victor Belmondo, grandson of Jean-Paul Belmondo, is a real revelation in this film where he is excellent as is Guillaume de Tonquédec, in the role of the writer. The latter also looks a lot like Philippe Besson. We feel the complicity of these two actors in this sensitive and moving film.

Olivia Lévy

Noticed at the Toronto Film Festival and having obtained no less than 14 selections at the Canadian Screen Awards, Brother does not lack power, evoking nothing less than Spike Lee’s early efforts and the grandiose Moonlightby Barry Jenkins.

Martin Gignac, special collaboration

Stripped of all artifice, delivered to the natural, Léa Seydoux offers here one of her most beautiful compositions. We will also remember the beautiful presence of the actors playing the two most important men in Sandra’s eyes. Pascal Greggory is particularly moving in the role of a man driven by deep melancholy in his moments of lucidity, and Melvil Poupaud brings the luminous part of a story where the great contradictions of life respond.

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Once again, Steven Spielberg offers us a very rich, very moving film (mention to Michelle Williams, wonderful in the role of the mother), full of winks, from which an unwavering love of cinema exudes in each shot. And unalterable.

The Press

The animated film, intended for a young audience, gives them time to get to grips with the refined decor and to discern its full splendor. The small houses with red roofs scattered along the coasts are timeless. Adults, carried by Uberko’s captivating music, will recognize Tadoussac, the Mingan Islands, Natashquan and the wreck off the coast of Red Bay, in Labrador. No humans appear, but the terrible boat propellers and drilling activities scare the belugas and cause them stress, threatening their survival. Marine protected areas in the St. Lawrence are taking on a life-saving aspect. The message is not subtle. But the adventures of the intrepid Katak make you want to go there and do better.

Danielle Bonneau

We might be tempted to compare Aftersun has Somewhere by Sofia Coppola or the more recent film C’mon C’mon by Paul Wells, but Charlotte Wells’ drama has an authenticity and realism that elevates it from the pack. There are films that disturb us when they end with a lot of mystery. This is not the case with Aftersun. What we don’t know about Sophie’s adult life without her father preserves the emotion of the memories that the film tells.

Émilie Côté

If these are, of course, real-life facts, the Hollywood touch of the production reduces the realism that should have been more pronounced. We can’t help but find certain dramatic moments overrated. Maybe it’s the journalist in us who can’t help but compare the film to the “real life” of reporters and who dwells on details that don’t matter that much. Because apart from these little hiccups (which, in the end, still serve to keep the viewer in suspense), everything works rather well in She Said.

Marissa Groguhé