Some movies are so thoroughly mediocre that you just want to yell at them to be better. That is the case with the French romantic comedy To Each, Her Own. The story is bursting with ideas, so many ideas, in fact, that it could’ve been something great. Instead, To Each, Her Own, much like its protagonist, wants it all. By trying to speak to so many ideas, the movie ends up saying very little. The ambition of director Myriam Aziza (who also co-wrote the script with Denyse Rodriguez-Tome) is admirable. However, her Netflix film badly needs someone who can rein in the unwieldy script [ . . . ]
Read full review at THE DAILY DOT: Netflix’s ‘To Each, Her Own’ Is An Ambitious, Overcomplicated French Film
Hugely acclaimed French genre film producer Franck Ribiere (Inside, Livid, Cell 211, Malefique, Witching And Bitching, etc etc etc) steps into the director’s chair for upcoming thriller The Most Assassinated Woman In The World.
Set against the backdrop of the infamous Theatre Grand Guignol the story revolves around iconic actress Paula Maxa – the most famous of the Grand Guignol’s leading ladies and the titular Most Assassinated Woman, who was graphically slain on stage multiple times a day – played here by Anna Mouglalis [ . . . ]
Continue at: First Look At Anna Mouglalis As Paula Maxa In THE MOST ASSASSINATED WOMAN IN THE WORLD
Winner of the Caméra d’Or and the Queer Palm at the last Cannes Film Festival, the Belgian Lukas Dhont continues his exploration of the theme of the body (started with his short films Corps perdu and L’Infini ) in this first feature-length light on an apprentice trans dancer who wants life to go faster.
Lukas Dhont plunges her protagonist, Lara (delicate Victor Polster), 15 years, into the world of ballet, a medium that has a very fixed idea of the body, between canons of beauty and frozen vision of what must be the masculinity and femininity. While working very hard, literally exhausting herself to fulfill her dream of becoming a star dancer, Lara does everything to ensure that the operation to bring her body in line with her gender takes place quickly … If it does not avoid some pitfalls on the representation of transidentity (Polster is top, but we regret that the role of a trans person is once again entrusted to a person cisgender, a sequence towards the end of the film is a little too sensationalist), the film is worth first of all because it finally shows what has not been seen in cinema so far:
In this part, which takes the form of a sweet portrait full of empathy (Lara is of all planes, and Dhont succeeds with subtlety to stick to his emotions), the most beautiful sequences are those which stage Lara with his father (Arieh Worthalter) and his little brother in moments of cohesion that are both of great simplicity and perfectly moving. Lukas Dhont knows how to instil a sensitivity and sweetness that sometimes reminds Céline Sciamma’s cinema. But this wadded cocoon has a dark counterpoint. Grueling discipline, brutal transphobia … Through Lara’s body, against which all the violence of her dance school, a highly competitive microcosm, clinically shown, Lukas Dhont reveals in their excessiveness the norms that would model, conform, but which suffocate and ruin; they are all the more exacerbated here that her heroine is both teen and trans. During training sessions, the filmmaker masks moments of weakness and films his face most often impassive, with the right look, dignified and focused. It is this tenacity to assert oneself, to refuse to let one’s identity fade away, that one will not forget.
Source TROIS COLEURS
A Feature film by Tom Volf
“There are two people in me, ‘Maria’ and ‘Callas’…”
A portrayal of an artist on a quest for perfection who became a global icon, a passionate woman with an extraordinary destiny, Maria by Callas is the story of a remarkable life told in the first person. Callas sheds light on Maria, revealing a diva as tempestuous as she is vulnerable—a moment of intimacy with a legendary figure, filled with all the emotion expressed by her unique voice.