THE MORNING LIST
By going to the cinemas, the spectators will be able, this week, to go to a mountain village, south of Kyoto; follow the love between a researcher and an android robot; discover the reunion of a young Jewish girl with her father; or dive back into the story of Raul Reyes, number two of the Revolutionary Armed Forces of Colombia.
“The Works and the Days”: a magical epic on the borders of image and sound
The beauty of the film by American CW Winter and Swedish Anders Edström, Works and Days, offers itself to whoever wants to take the time to receive it: here are eight hours of cinema, like a working day or a cycle of life, with its rituals – cultivating the land, maintaining the graves, talking to the deceased and having drinks, until the end of the night.
Over five seasons, interspersed with interludes, the directors map a mountain village south of Kyoto, collect a way of life in perdition, paint the portrait of a family to which they are intimately linked. The filmmakers share a common taste for non-spectacular photography, and place work on sound in the foreground (resulting from hundreds of hours of recording, in the vicinity of Kyoto).
As in any walk in the woods, the film offers a great game of hide and seek. We believe we are following the daily life of Tayoko, who reads excerpts from her diary in voice-over, while the camera reveals a continuous stream of innocuous events. But the device is more dense than it seems. Winter and Edström are driven by a desire for fiction, which takes the form of micro-narratives, spontaneous or prepared.
Minimalist and full of details, Works and Days was awarded the Golden Bear for best film section Encounters in Berlin in 2020. Clarisse Fabré
“Works and Days”, American, Swedish, Japanese, English film by CW Winter and Anders Edström. With Tayoko Shiojiri, Hiroharu Shikata, Ryo Kase (8:11 a.m.).
“I’m Your Man”: a romantic comedy about male perfection
I’m Your Man, by Maria Schrader, is reminiscent of Billy Wilder’s comedy Some like it hot (1959), with its tandem of transvestites in search of wealthy men. One of the two accomplices (Jack Lemmon), disguised as a blonde, ends up in a relationship with a rich gentleman (Joe E. Brown), who thought he was dealing with a woman. When he learns the truth, he simply says: “Nobody’s perfect!” » It is precisely the hypothesis of a perfect being that Maria Schrader’s film examines: Tom (Dan Stevens), an android robot, has been developed to conquer the heart of Alma (Maren Eggert), a researcher single.
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