There was a priori everything to please, or at least disturb at least: a casting with small onions (Golshifteh Farahani, Emma Mackey, Finnegan Oldfield, demacrate Tahar Rahim, with about twenty kilos less in the back It transforms the statistics of a martyard and becomes a rock and agonizing statistic, which visual (a virus (a virus (a virus is transformed and transforms into those who face and become a margin statistic and becomes a rocky. sandy; or blood, as a generalized phobia).
But Julia Ducournau’s third feature film was waiting anxiously after her golden palm in 2021 for the brilliant TitaniumPresented in competition in Cannes this year, he disappoints. Mayonnaise never really takes. It even abstains as the plot progresses. Stretch. He ends at Lynchéan’s praiseful inspirations, but failed (disorderly story, melancholic song in the background, a long scene in an obsolete red hotel). And in repetitive round trips between two temporalities.
Family gore
We resume at the beginning. The intrigue: In the 1980s, Alpha (Mélissa Boros), a teenager with 13 -year -old glasses, full of trauma, who likes to flirt with danger, lives alone in Le Havre with his mother, Sausage (Golshifteh Farahani).
As a virus spreads and scares the crowds, Alpha gets a great “A” on his shoulder. Her mother fears that the needle has contaminated her and leads her to take exams. The duo then sees the mother’s brother, Amin (Tahar Rahim), who adds to the heroine and dug for the bites.
The film then ranges from the family saga, the history of gender learning and the apocalyptic fresco in AIDS (or any other pandemic). With in the middle, as always in Ducournau’s cinema (daughter of a gynecologist and a dermat for Oedipus followers), the bodies filmed closely, damaged, mistreated, scarified. Sacrificed Blood drips in skins, needles with needles, fear of fear. A roof slowly collapses. A tangled ladder in all directions.
These bodies try tenderness. They stay (hugs between the girl and the uncle, with mom, or between brother and sister), take a hand, a ladybug or a syringe, dare some welcome caresses. But emotion does not arise.
Little interest
And that is where, it would be said, all the misfortune of the film. Despite the efforts made by the director and the actors, the characters are barely swell as the scenario (convoluted) weaves their canvas. They are locked in a dysfunctional family shell but in heel (the mother first), repeat their expressions and problems.
Finally, it falls apart as the reddish sand that looms in Le Havre. On the contrary precisely Titanium Who, beyond Gore’s aromas, managed to probe and touch the interiority of his murderous heroine and ampoule.
On the issue of AIDS, nothing new either. The film represents the fear of panic to pollution, paranoia, rejection (when the alpha mocks its classmates or when the hospital filters or even clearly rejects the sick), confinement and isolation, distrust of each other, the generalized suspicion. Homophobia too. Classic and without much interest. Alpha Therefore, it is the color of your image, too gray, too cold. Bored.
Source: BFM TV
