THE MORNING LIST
Spectators wishing to rush into dark rooms this week will be able to refer, at their choice, to the hieratic gesture of the Portuguese Pedro Costa filming in Ventura. Cavalo Dinheiro the ghosts of the “Carnation Revolution”, the hilarious delirium of a Quentin Dupieux remaking the world around a hole in Incredible but trueor the beating heart of the documentary Boom Boom by Laurie Lassale who links love to revolt. Something to whet your curiosity on all fronts.
“Ventura. Cavalo Dinheiro”: memories of the revolution
Any young director dreaming of making films should, all business ceases, immerse himself in the work of Pedro Costa. Each film is a slap, political and aesthetic: to name only the feature films shot in the neighborhoods, In Vanda’s room (2000), Forward, youth! (2006), Vitalina Varela (2019), masterpiece of chiaroscuro awarded the Golden Leopard, and finally Ventura. Cavalo Dinheiro (2014), which is released in theaters on June 15, eight years after its selection at Locarno.
The film is crossed by memories of the “Carnation Revolution”, the coup orchestrated by young left-wing officers, on April 25, 1974, which ended in overthrowing the Salazar dictatorship, but failed to give power to the people, despite the chanted slogans. Combining past and present, the film features a retired labourer, his body worn out, haunted by the ghosts of friends and lost loves. The story, almost mythological, makes the character circulate in his striped pajamas, from the darkness of the damp underground, to the anonymous corridors of a hospital, like a passage between death and life. Clarisse Fabré
Portuguese film by Pedro Costa. With Ventura, Vitalina Varela, Tito Furtado, Antonio Santos, Benvindo Tavares (1h45).
“Incredible but true”: pataphysical farce
Through his ever more delirious film escapades, Quentin Dupieux is in the process of inventing, at the heart of French cinema, an improbable niche, a new pataphysical comedy. Incredible but true is the latest specimen to be released in theaters and undoubtedly the funniest film seen in recent times.
Everything here revolves around a hole, a silly pipe made in the cellar of a house for sale. According to the real estate agent who shows it around, this is the “nail” of the pavilion that Alain and Marie (Alain Chabat and Léa Drucker), a banal couple in all respects, hesitate to buy. And for good reason, since the well houses a space-time vortex, ready to suck them in. A stone’s throw away lives another couple, neighbors not stung by beetles: Gérard (Benoît Magimel), a childhood friend and Alain’s boss, very satisfied with his new transplant of a ” electronic dick and Jeanne (Anaïs Demoustier), a permanent nymphet who runs a clothing store. Gaping hole and artificial rod combine at leisure to draw an ubiquitous picture of the suburban imagination, as crude as it is narrow from the bulb. Mathieu Macheret
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