The Woman King, Without filter … the new cinema of September 28

Every week, Ecran Large makes its market in cinemas, and selects a few must-see releases and films (for good or bad reasons). With Viola Davis who goes to war, a trauma that turns to horror and the last Palme d’Or at the Cannes Film Festival.

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RECOMMENDED OUTINGS

THE WOMAN KING

Duration: 2h15

What is it about : In the 19th century, the Kingdom of Dahomey was surrounded by hostile neighbors and slave powers ready to eviscerate it. He will owe his salvation only to the bravery of an exceptional warrior.

Why you have to see it : Because beyond the discourse of his time, who would like to make a great political gesture, The Woman King is simply entertainment who knows use its budget and these resources to the best of its ability to ensure a solid show. This is both the strength and the obvious limit of the company: never to disappoint, but also to perpetually reveal that his company is as noble as that of the first popcorn seller to come along.

By contrast, Viola Davis and Lashanna Lynch frequently transcend weak or systematic character writing. Undoubtedly amused by a scenario that gives pride of place to physical performances and a staging that has no other ambitions than to magnify them, they engage in a duel of charisma as playful as it is devastating. The magnetic excess of their performances remains the film’s best advocate, both a combative tale of an expected emancipation, and a sympathetic Hollywood show, probably unaware of its kitsch finds.

The Widescreen note : 3/5

WITHOUT FILTER

Duration: 2h29

What is it about : After Fashion Week, Carl and Yaya, a couple of models and influencers, are invited on a yacht for a luxury cruise. But the dream vacation will quickly take an unexpected turn.

Why you have to see it : Because it’s rare to see a Palme d’or at the cinema, it happens about once a year. Jokes aside, it is above all rare for the Cannes Film Festival to award its finest prize to a comedy, and that makes Without filter a strange object. Ruben Östlund indeed returns, after his first Palme d’or received for The Square, with a delirious satire on the elites, juggling between the burlesque, the politically incorrect and the big nonsense.

Unsurprisingly, the director continues to play the brat with his Without filter and piling up the awkward scenes, culminating in a watery, drooling dinner scene. With a solid staging, the Swedish filmmaker has fun inflaming the stay of his characters to better mock them, ridicule them, humiliate them. And as unusual as it is, it is quite likely that spectators will laugh out loud in front of a Palme d’Or. Like what, Ruben Ôstlund really wants to explode everything.

The Widescreen note : 3.5/5

Our No Filter review

THE EXIT WE ARE GOING TO CATCH UP

SMILE

Duration: 1h55

What is it about : From a psychiatrist who begins to see very strange things after the accident of one of her patients. Good and a priori, there are also a lot of people who smile.

Why do we want to catch up : On paper, Smile looks like those millions of American horror concept films more or less validated by a band of marketers supposed to scan the deep desires of teenagers (a few jump-scares and Instagram stories). The main spring of the thing reminds even the unbearable Truth or Darewhich plastered a digital smile worthy of a Snapshat filter on its antagonists, for lack of any real threat.

Except that the trailer has since arrived and it features some pretty disturbing shots, which seem to push the concept a bit further than expected. Add to that that the traditional PG-13 classification is not there (it’s a ban on children under 12 with a warning here) and that the first returns are relatively enthusiastic and we assure you to catch up with him with less apprehension than usual.

The Widescreen note : (s)thousand/5

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The Woman King, Without filter … the new cinema of September 28