Let’s avoid the progressive recommendations of the Cannes Film Festival and Telerama which no longer seem in line with the cinematographic desires of a large part of the French – the proof in the entries.
French cinema is doing badly. It’s normal, French cinema is getting worse and worse. Most of the award-winning French films criticized by the cinephilic and teleramesque intelligentsia have been systematically shunned by the public. The Palme d’Or, which generally attracts large crowds (example: Parasite by Bong Joon Ho, Palme d’Or 2019 = 1,900,000 admissions), only very moderately benefited Titanium (Julie Ducourneau, Palme d’Or 2021 = 300,000 admissions). Logically, its director, a pseudo-rebellious neo-feminist, made a pseudo-transgressive crap, a real turnip that even an often brilliant actor like Vincent Lindon could not prevent from sinking into ridicule – the actor is here , like his character and the film, pathetic. As for the films inspired by the books of Annie Ernaux or Christine Angot, it’s even worse. The event by Audrey Diwan, yet Golden Lion at the Venice Film Festival, only made 130,000 admissions, while With love and determination by Claire Denis painfully reached 151,000 admissions. In bulk, the list of nullities: yesterday’s world de Diasteme (Léa Drucker plays a President of the Republic fighting against the extreme right – a film conveniently released a few weeks before the last presidential elections!): 78,000 admissions. Arthur Rambo, by Laurent Cantet, a film trying in vain to defend a character inspired by Mehdi Meklat: 33,000 admissions. The famous Rodeo by Lola Quivoron, acclaimed by Telerama, The world, Le Figaro, Release : 36,000 admissions!!! The very big bowl. In contrast, North ferryby Cédric Jimenez, despite (or thanks to?) criticism from Release (“ We must do justice to North ferry, specify that he is not only a fascist. Fifty shades of right trend […] the demago and virilist film by Cédric Jimenez is missed as much in its execution as in its intentions “), was a hit at the box office: 2,218,000 admissions. When in American film Top Gun, Maverickquite successful in its genre but that The worldwho found that Titanium was a ” powerful gender and transgender film “, judged to be ” without an ounce of creativity »; it literally ridiculed the whole of current French cinematography with more than 6,500,000 admissions. Result of a policy of French cinema which mixes wokist ideology and small arrangements between friends (as far as public subsidies are concerned): attendance at cinemas in September was the most catastrophic ever known since 1980.
French cinema, “supported” by a complacent and political CNC, is generally rubbish. All the more reason to go see a film that has received neither grants nor rave reviews from the progressive press and which cleverly and humorously mocks, in one hour flat, our hygienist, neo-feminist, transgender and wokist era. The world after, by Laurent Firode, takes place, for an evening, in a Haussmannian building inhabited by a gallery of characters imbued with fashionable “societal” ideologies. These characters are, in turn, a couple whose husband, a pharmacist, believes he has found the infallible way to vaccinate everyone, even and especially those who do not want to be vaccinated; a pair of friends, one of whom, a transgender man, is “pregnant” with… Marguerite; a crafty feminist ready to post a compromising video on the networks to avoid paying for the plumber’s repairs; an ultra-feminist couple looking for a vegan, eco-friendly roommate who can shower only once a week to “save the planet”; two comedians playing the roles of men dying of covid for not having their children vaccinated.
The tics of “inclusive” language are interspersed with idiotic remarks that are totally pleasing in truth, barely caricatural, of those that can be read or heard in certain wokist books, certain progressive radio stations, certain feminist associations. The actors and actresses are all great and manage, behind the laughter, to scare the hell out of us; because the next world is a totalitarian world where everyone thinks they have good reasons to monitor and lecture their neighbor, a scoured world in which bleach disinfection concerns both objects and brains, a wacky world where transgender men flip a coin to find out who will be the father of a child conceived with a transgender woman and in which a woman can say without smiling that she took her umbrella because she was scared ” let it rain ” because ” Well yes, it’s not a phallus that makes it rain “. It’s hilarious, grating, rhythmic and, to top it off, judiciously punctuated by a single musical score, that of Liszt’s “La Campanella”. In short, it’s perfect.
After experiencing real success at the Saint André des Arts cinema, The world after will be visible again at the Espace Saint Michel cinema (7 place Saint Michel, Paris 5th) from Wednesday 23 November. For those who are in the area, or even a little further, only one piece of advice: run to see it.
PS: I am slipped into the headset that Telerama find this movie reactionary “. All the more reason to rush there.
© Didier Desrimais
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Didier Desrimais. “The world after”, by Laurent Firode: a mischievous film that is good for French cinema – Tribune Juive