|IO LA CONOSCEVO BENE
|Les RENDEZ-VOUS D'ANNA
|Simone Barbès ou la vertu
|An Angel at My Table
|Uncle Boonmee Who Can Recall His Past Lives
IO LA CONOSCEVO BENE
Growing up, being humiliated, constituting herself little by little through the cold eyes of men. It’s impossible to forget Adriana's black and white face, her attitudes, her dreams and her body running away from its own shadow in the streets of Rome.
In search of recognition, Barbara Loden produces a radical, free, inimitable gesture. Who has never dreamed of such a fusion between an actress and her character?
Bernadette Lafont and Bulle Ogier, friends and kleptomaniacs, free and adventurous, lead us into the depths of the human soul in the manner of an ‘cadavre exquis’.
Les RENDEZ-VOUS D'ANNA
Ana crosses, makes, meets, smokes, desires. Ana dances, rolls, hugs, moves, plays. The strength of the film comes perhaps from its lightness in the face of tragedy, always present in the background of the film.
Simone Barbès ou la vertu
The film is a comet; the nonchalant drift of marginal, lonely people who, in their interactions, awaken the intelligence of the heart. The end of the film is carried by the grace of the duo of Bourgoin and Delahaye.
An Angel at My Table
A fresco in three chapters, this film offers a raw immersion in the lives, deaths and rebirths of writer Janet Frame.
With the complicity of her actors, Maren Ade tells of the intimacy of a couple. Fascinating observation of naturalism to the point of total abstraction.
Uncle Boonmee Who Can Recall His Past Lives
Weerasethakul's shots, their cadence, their secrets, unfold like a hypnosis session from which one never fully returns.
Late in the film, Kawase's voice appears, off-screen, disrupting the narrative, just as the film's births disrupt the lives of the protagonists.