First film, rather successful first attempt for Victoria Bedos, co-screenwriter of La Famille Bélier who, with La Plus Belle pour aller danser, signs a light comedy, punctuated by hits from the 1960s and 1970s, Polnareff and Vartan in the lead. The pitch? The torments of a teenager, Marie-Luce (Brune Moulin) raised by her widowed father (Philippe Katerine) who runs a boarding house where a few mischievous seniors (Pierre Richard, Guy Marchand, Firmine Richard) are rampant. To fit into a party where she is not invited, Marie, who is studying Marivaux’s The Game of Love and Chance in class, decides to dress up as a boy, which will change a lot of things in her relationships. with her father and a certain Émile, for whom she has a big crush. On the theme of transvestism and its surprises, La Plus Belle pour aller danser reveals a young 14-year-old actress, Brune Moulin, disturbing androgynous.
The Most Beautiful to go dancing, indoors.
DSimon, at the Théâtre de la Bastille, until April 21, 2023 at 7 p.m., is off on Sundays. Duration: 1 hour. Online reservations.
Because spring evokes renewal, soft and golden light, meetings on the terrace, nothing like Jain’s new album to be reborn to life, but above all to love! At 31, the Frenchwoman has a beating heart, and you can hear it. After the hits (“Makeba”, “Souldier”, etc.), her performance at the FIFA Women’s World Cup, world tours (300 dates), she took a four-year break, living in a fisherman’s hut in Marseille, to come back down to earth (and sea?). Yet it is towards a distant galaxy that she flies away in these new songs. Far from her hyper-energetic pieces with irresistibly dancing melodies with African, hip-hop, pop and oriental resonances drawn from the influences of her childhood spent between Congo, Dubai, Abu Dhabi and Pau, she changes style and sound. Make way for the Beatles, disco, Kate Bush, David Bowie, Michael Jackson, Madonna… This third opus, still produced by his accomplice Yodelice, quite simply makes you want to love.
The Fool (out April 21 on Columbia)
Literature has no borders: this year again, the Paris Book Festival (April 21-23, 2023) opens its doors wide to more than 300 authors from various backgrounds, and particularly from Italy, the country in the spotlight, represented by Milo Manara, Erri De Luca, Paolo Cognetti or Donato Carrisi, but also by new feathers, such as the Italian-speaking Somalian Ubah Cristina Ali Farah, the journalist Stefano Montefiori or the phenomenon Beatrice Salvioni. More than 300 authors are expected at the ephemeral Grand Palais and in various high places of the city, including the great amphitheater of the Sorbonne, the House of Poetry, the Climate Academy, the Museum of Arts and Crafts or the College of Bernardins . Partner of the event, Le Point gives you an appointment with its editorial staff for several high-level meetings. You will hear Giuliano da Empoli, the author of Mage du Kremlin, Daniel Pennac, Blandine Rinkel, Lola Lafon, Monica Sabolo, Jonathan Coe, Philippe Claudel, Sabyl Ghoussoub, Dany Laferrière or Marie-Hélène Lafon speak, through their books, of the march of the world.
No boundaries between genres, either, in this festival designed under the leadership of Vincent Montagne, Jean-Baptiste Passé and Marie-Madeleine Rigopoulos, who is interested in general literature as well as thrillers, youth or social science. And because reading is also sharing, the weekend will be dotted with workshops dedicated to writing or self-knowledge (for parents), expressing your creativity (for the youngest) , guided tours of Parisian monuments, concerts and readings…
The Picasso Museum presents…Faith Ringgold, who neither you nor I had probably heard of until now, and yet! What a fascinating journey that of the African American artist born in New York in 1930, raised in Harlem and a bearer of all the fights for blacks and women, in an impressive variety of practices. It all starts with American People in the early 1960s, a series focusing on black and white relations, marked by an ultra-violent street scene where the fearful gazes of the paralyzed characters do not leave you. Die, title of the painting, is directly inspired in its composition by Guernica, and this is not the only link with Picasso. The French Collection imagines the life of an African American heroine arriving in Paris in the artistic world, visiting the Louvre (Dancing at the Louvre), having a picnic in Giverny and finding herself a model in… Picasso’s studio. The scenes unfold on these narrative quilts (traditional patchworks sewn by African women for their beds and of which her mother, a seamstress, had the secret). Posters with magnificent graphics and colors, in particular for the release of Angela Davis, installations as close as possible to life, sculptures returning to African heritage, the vitality and power of her creation challenge each room. The monograph is fascinating as Ringgold (92 years old) generously recounts a militant life and work with such strong echoes today.
Until July 2, Picasso Museum.
She runs a lucrative indoor plant business, he struggles as an independent contractor. She is married and the mother of a little girl, he is single and lives with his lazy younger brother. Amy (Ali Wong) and Danny (Steven Yeun) don’t know each other and have nothing in common except for a layer of neuroses and respective frustrations just waiting to explode. Their paths will cross in the parking lot of a supermarket, for worse and nothing else: when Danny’s car almost crashes into Amy’s, a middle finger from the latter will cause a chase between the two drivers on the verge of a nervous breakdown. The incident will be cut short, but will cause a chain reaction that the authors of Acharnés will patiently unfold over the ten episodes of this singular series full of very, very dark humor.
Written by Korean Lee Sung Jin, produced by A24, Relentless takes aim with sniper acumen at the battalion of small daily exasperations that can cause anyone to snap and come roaring out of the woods with a trigger. Under the LA sun, the story’s two antiheroes drag along like a weight of poorly digested respective pasts as well as a deep feeling of repressed loneliness. Unaware of each other’s depression, consumed by a dull anger, Amy and Danny will be drawn into a spiral of retaliation, resulting in a soon to be uncontrollable crescendo of collateral damage. A vitriolic satire of a certain Californian lifestyle, a painstaking dissection of class conflict and intra-Asian communities, Relentless sometimes overdoes it and, as usual with Netflix, stretches its concept excessively. But we remain addicted to the end, caught up in the sweet madness of the concept and the excellence of the entire cast. Special mention goes to the incredible Ali Wong as Amy, whose facial expressions, often framed in close-ups, betray a whole palette of seething and unsuccessfully repressed emotions. A real human geyser!
Relentless, by Lee Sung Jin (10 x 55 minutes). Available on Netflix.
