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Reviews
Perfect Days (2023)
You have everything he says
On the face of it, this film contains all the ingredients necessary for me to consider it a success. Japan, its culture, between tradition and modernity, praise for slowness, a taste for literature, the everyday simplicity of things. Through repetition, this film immerses us in the day-to-day life of a man who, to a Westerner's eye, lacks everything that could make him happy. The structure, editing and repetition of motifs avoid latitude just enough, and manage to communicate effectively what we understand to be the almost manic pleasure, let's just say it, of an individual who lives on precious feelings, far removed from the ultra-high speed of the modern moment. The singularity of this individual is that his profession, though degrading in every way, in no way prevents him from being happy, grateful, benevolent and satisfied. He enjoys the sensitive and intellectual pleasures of music and literature. While I understand what such a daily routine can inspire in a viewer oppressed by inane content and aggression, to whom every advert repeats that he must be dissatisfied, I also appreciate the malaise that a film expresses in the background. Workers, you who do the worst jobs, take a leaf out of this poetic, satisfied man's book. Material pleasures are not for you, but you don't need them anyway.
War Pony (2022)
Everything about better and worse
Where the film succeeds is in this ability to make us feel on a dramatic ridge flirting with the precipice. Continuously: the resourcefulness, the negotiation, the daily quest for the right plan, for the money to find for the moment or the one after. Each individual linked to the other, By necessity or tradition. On one side, the comfort of the community, on the other its permanent violence, like two sides of the same coin. Drama can arise from every shot. Everything is survival and misery, but everything is also beauty and kindness. Anything could happen, But in the end we are left with motherly love.
Les trois mousquetaires: D'Artagnan (2023)
Pressed and complacent
If the time is given to make a film in several chapters, why make a film that links situations with such speed.
The psychology of the characters (fascinating in the work of Dumas) is non-existent, everything is developed in haste to privilege the action. The dialogues are modernized and take away all the panache and the faconde proper to the text of the work and of the time.
The film seeks the pleasure of the greatest number of people at the expense of the literary quality of the work.
On the side of satisfaction nevertheless, Louis Garrel as Louis XIII, mischievous and charming. Also, the casting of the musketeers, in the physical and for some lines.