The director of ' Madre ' chooses from Rome his cultural preferences of the moment. He is in Italy by chance of the heart after having been in Paris for script requirements. In France, and against all the pandemics in the world, he has just released his latest film. In a little while, we will be able to see his first work for television: ' Riot gear '

movie / my love, by maïwenn

Not so long ago I discovered Polisse , from the director (formerly actress) Maïwenn . Her way of working with the actors captivated me. Everything is so meticulously improvised that reality itself jumps into the viewer's face. However one film leads to another, I recently finished 2015's My Love , thanks to Filmin . Fascinating. The way how he portrays love passion through the body of two interpreters ( Emmanuelle Bercot and Vincent Cassel) who more than put on paper seem to be possessed by him impressed me with his truthfulness, his lack of scruples, and his carnality. I read that Maïwenn directs each scene from within her. Bercot describes her as a boxing trainer yelling at the boxer at the foot of the mat. And Cassel proves once again that he is the most seductive and charismatic type of French cinema. I also read the bad reviews of the film. Anyway.

series / the collapse, by Jérémy bernard, guillaume desjardins and bastien ughetto

I have no choice but to talk about the series that everyone talks about. Yes, the collapse . Honestly, it bothers me (or, better, worries) that kind of unanimity that now applies to almost everything. For good or bad. I think that in many chapters the script leaves much to be desired and in others, the famous sequence shot that underpins each episode is more of an exhibitionism exercise than really appropriate for narrative purposes. However, there are two chapters ( the one that takes place in a nursing home and the one on the ship ) that are difficult to overcome. In both cases, the viewer is seen inside the screen. If to all that it is added that the series was planned before the pandemic and lands in Filmin in the middle of the pandemic. It touches, although it hurts, to join the unanimity. Although not entirely.

song / from mon manège to moi and jean constantin, norbert glanzberg

Mother , my last film, has just been released in France. It is not self-promotion. It is a fact. And that has forced me, if only to put myself in a situation, to listen to French music. Not long ago, partly by chance and partly in a sought-after way, I came across a classic: Mon manège à moi . The first time I heard it was in Irreversible, the Gaspar Noah movie that redefines the controversial adjective. At one point, Vincent Cassel again (watch the movie) and Monica Bellucci get out of bed. They are naked. He plays music and plays the version that was popularized by Étienne Daho in 1993. It was a song I had to have sounded in my uncle , of Jacques Tati , and Édith Piaf became an icon. "You make me turn my head," says the first verse.

book / the private life of heroes, by daniel jiménez

Right now I am reading The Private Life of Heroes (Galaxia Gutenberg), by Daniel Jiménez , an author who could be said to have read daily for years; 15 years. It is a book of stories in which the obsessions, desires and many frustrations of an entire generation come together, mine. As if it were a Raymond Carver by Majadahonda (forgive Daniel), the book succeeds in portraying the soul of a group of people who seem to have gone through life in the easiest way. And even comfortable. Along the way, yes, the crises of 2008 have been eaten and now the one that comes with the covid. I was excited by the viscerality of his first novel Cocaine , a work vomited rather than written, and I was convinced by the ironic intelligence of his second work, The Two Deaths of Ray Loriga . Who knows if there will be a great movie in this latest storybook that is also manifest.

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