{"id":11102,"date":"2019-12-23T06:30:33","date_gmt":"2019-12-23T11:30:33","guid":{"rendered":"https:\/\/lepetitseptieme.ca\/?p=11102"},"modified":"2019-12-22T19:13:55","modified_gmt":"2019-12-23T00:13:55","slug":"cinema-2019-fannies-top-5","status":"publish","type":"post","link":"https:\/\/lepetitseptieme.ca\/en\/2019\/12\/23\/cinema-2019-fannies-top-5\/","title":{"rendered":"Cinema 2019: Fannie\u2019s Top 5"},"content":{"rendered":"

2019 is coming to an end; the time has come for cinematographic assessments.<\/span><\/p>\n

Long m\u00e9trages<\/span><\/h3>\n

5 – Sole (Carlo Sironi) – Italy<\/span><\/h4>\n

\"SoleErmanno and Lena are two strangers. Lena has come from Poland to sell her baby. Ermanno has to pretend to be the father so that he can entrust the newborn to his uncle Fabio. As Lena rejects her motherly desire, Ermanno starts to assume his role as if he was the actual father of Sole, the baby girl. Unexpectedly, they will experience family life together.\u00a0<\/span><\/p>\n

In his first feature film, Carlo Sironi revisits typical family history. Here, he approaches a family nucleus which is built outside the filial bond. Not only the subject is new, but Sironi adapts it admirably: the characters\u2019 unease and unhappiness pierces the screen along the film, through the script and cinematographic choices. A film that clearly reports a fundamental identity questioning.<\/span><\/p>\n

4 – La grande noirceur (Maxime Giroux) – Canada<\/span><\/h4>\n

\"LaWhile a world war rages, Philippe, a draft-dodger from Quebec, takes refuge in the American West, surviving by competing in Charlie Chaplin impersonation contests. As Philippe makes his long journey home, he encounters various characters under the sway of a destructive madness borne of the chaotic times. His voyage, both violent and fascinating, is a hallucinatory initiation to the darker side of the American dream.<\/span><\/p>\n

With <\/span>La grande noirceur<\/span><\/i>, Maxime Giroux offers a surreal universe in which the twists and turns take us one after the other. All of this takes place in a breathtaking setting. The photo director did a remarkable job, creating a real feast for the eyes from start to finish.<\/span><\/p>\n

3 – Le daim (Quentin Dupieux) – France<\/span><\/h4>\n

\"LeGeorges, 44, and his jacket, 100% deer, have a project.<\/span><\/p>\n

It\u2019s hard to believe that a comedy is part of this review since I don’t usually love this genre. But this dark comedy is far-fetched and senseless. We are constantly surprised by Georges\u2019 actions, which can only cause laughter. And, despite everything, we believe in his behavior. Jean Dujardin builds his character like an actor at the top of his art. Same thing for the director, Quentin Dupieux, who did absolutely everything, from the script to the editing. And the result is a work where image, script and interpretation are perfectly tied up together.<\/span><\/p>\n

2 – Leto (Kirill Serebrennikov) – Russia<\/span><\/h4>\n

\"LetoLeningrad, one Summer in the early Eighties. The underground rock scene is boiling.<\/span><\/p>\n

Amongst the followers of Led Zeppelin and Bowie, young Viktor Tsoi is eager to make a name for himself. The encounter with his idol Mike and his beautiful wife Natasha will change his life forever. Together they will build Viktor\u2019s legend and make him immortal.<\/span><\/p>\n

With <\/span>Leto<\/span><\/i>, Kirill Serebrennikov immerses us in the Russia of the 80s and, despite the cultural distance, the identification with the characters is ensured. I felt myself reviving with nostalgia the good years and the experiences surrounding the transition to adulthood, rocked by Russian music and the drawn and fantasized sequences… Sequences that transform this rather classic history into an innovative gem.<\/span><\/p>\n

1 – Libert\u00e9 (Albert Serra) – France, Portugal, Spain, Germany<\/span><\/h4>\n

\"Libert\u00e9Shortly before the French Revolution in a forest somewhere between Potsdam and Berlin, a group of aristocratic libertines driven out of Louis XVI\u2019s puritanical court gather to act on their wildest sexual fantasies. Here, anything goes, with the quest for pleasure bowing to no law but that of satisfying one\u2019s desires. It\u2019s one long debauched night of limitless fantasies, highbrow decadence, smouldering glances and the most extreme fetishes.\u00a0<\/span><\/p>\n

With <\/span>Libert\u00e9<\/span><\/i>, the Catalan director Albert Serra once again disturbs the conventions of historical film by making, from the history of 18th century libertines, a disconcerting film which leads us to question the very codes of pornography. But what is particularly exceptional in this feature film is the ability of the director to solicit the imaginative capacity of the viewer and to make him see images that he does not show, through the script and the shots. Few actions occur in the end; we assist to one and the same night, in one and the same place. But we are captivated from the beginning to the end, what a feat! Far from the typical historical films, Serra\u2019s treatment of the subject makes <\/span>Libert\u00e9<\/span><\/i> a daring cinematographic work, out of the ordinary and very current.<\/span><\/p>\n