All the reviews of the week’s premieres

‘Paris, Arrondissement 13’, directed by Audiard, and a new installment of ‘Fantastic Beasts’ are the most outstanding film novelties this week

Still from the film ‘Paris, District 13’, which includes a great diversity of characters and love relationships

EDITORIAL / Other Sources

Fridays are movie day. This week films as diverse as the characters that star in them arrive on the billboard. French director Jacques Audiard returns with Paris, 13th Districta portrait of how the new generations live sentimental relationships in a mixture of love, friendship and eroticism.

In a completely different field, opens Fantastic Beasts: Dumbledore’s Secrets, a film that fans of the Harry Potter saga have been waiting for for a long time. Without abandoning this well-known magical universe, the film explains the participation of the Magical World in World War II, with Albus Dumbledore at the helm. french romantic comedy Love letters don’t exist the devastating and immersive documentary Cowprison drama ariaferma and the Franco-Tunisian The man who sold his skin, based on real events, complete the rest of the news this Friday.



love and new generations

Paris, 13th District

Direction: Jacques Audiard
Interpreters: Lucie Zhang, Makita Samba, Noémie Merlant, Jehnny Beth
Production: France, 2021. Romantic comedy.
Punctuation: ***
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Still from the movie 'Fantastic Beasts.  Dumbledore's secrets


Shortage of film magic

Fantastic Beasts: Dumbledore’s Secrets

Direction: David Yachts
Interpreters: Eddie Redmayne, Jude Law, Mads Mikkelsen, Ezra Miller
Production: Great Britain and the US, 2022. Fantastic.
Punctuation: *
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Still from the movie 'Love letters don't exist'


life is pure mobile

love letters don’t exist

Direction and script: Jerome Bonnell
Interpreters: Gregory Montel, Anaïs Demoustier, Gregory Gadebois, Pablo Pauly
Production: France, 2021. Comedy and romantic drama.
Punctuation: **

Director of lovers time (2013), Jérôme Bonnell now focuses his camera on the lack of love in the male sphere. The protagonist is separated from her wife but is still very much in love with her, and that is why he will try to get her back, although everything seems to be against him. In the almost unique setting of a neighborhood cafeteria reminiscent of the old parishes. Loyal drinkers parade through it, always aware of the mobile phone, who want to regain faith in themselves and in others, including women. Apart from the drink, the person in charge of the premises performs the function of literary critic and recommends books.

Female dialogues such as “I am not easy, but you are unbearable”, show the difficulty of the reunion. An enjoyable and unassuming film.

Frame from the documentary 'Vaca'


the big moo


Direction: Andrea Arnold
Production: Great Britain, 2021. Documentary.
Punctuation: ***

The title says it all. A cow. The life of a cow together with other cows on a farm. It is the flip side of the romantic, idyllic image of the cow grazing outdoors in a clean, bright field that many milk commercials exploit. Here all the cows suffer, their existence is gray, miserable.

The viewer also suffers, because Andrea Arnold’s proposal is radical: an invasive camera attached to the animal, from any part of the body, day and night, without breathing zones or any type of intervention, since her method, similar to that of the master Frederick Wiseman, is to shoot reality naked and for a long time, without comment (the dialogues of the farmers, who are filmed because they are there even though they seem not to be, are scarce, casual, irrelevant), without hiding anything but also without underline anything. It won’t be pretty, but it’s a model documentary.

Frame from the film 'Ariaferma'


survive behind bars


Direction: Leonardo Costanzo
Interpreters: Toni Servillo, Silvio Orlando, Fabrizio Ferracane, Salvatore Striano
Production: Italy and Switzerland, 2021. Drama.
​Score: ***

There are prison films that marked a before and after, cases of Life imprisonment or Escape from Alcatraz, to name just a couple of titles, but prison stories that are repeated ad nauseam abound. On ariafermathe veteran filmmaker Leonardo di Costanzo, an expert in documentary film, uses the prison element to metaphorize the decomposition of a society that is unfair to the weak and in which only the desire to enrich a powerful minority seems to prevail.

In an old Italian prison about to close, the transfer of prisoners and officials is slowing down due to bureaucratic procedures. Loneliness, abandonment and desolation will create another type of relationship between officials and prisoners. As expected, the interpretive duel between Toni Servillo and Silvio Orlando is memorable.

Still from the movie 'The Man Who Sold His Skin'


The illustrated body

The man who sold his skin

Direction: Kaouther Ben Hania
Interpreters: Yahya Mahayni, Dea Liane, Monica BellucciProduction: Tunisia and France, 2020. Drama.
Punctuation: *

​​This film aims to explore the limits of contemporary art (if there are any) exposing a story with Mephistophelean roots that, if not inspired by a real case, would be said to be exaggerated or improbable. The real case, concerning the artist Wim Delvoye, is only the basis of a fiction starring a Syrian forced to flee his country and who in Beirut agrees to offer his body to an artist so that, with his bare back tattooed, it can be exhibited in galleries: a conceptual work.

The tattoo is a message: “Schengen visa”. And it creates a diplomatic conflict, because it not only exploits man as a commodity (millionaire at auctions due to its media coverage), but also degrades the Syrian people. Garnished with a complicated love story, the film has substance and is thought-provoking, but it is formulated rather impersonally, too bad.

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