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Yannick (2023)
Quite linear and straight, with as usual a reflexion on film
This is the director's most linear film, if not his clearest. We know that Quentin Dupieux often, if not almost always, talks about film, the work of art, the way it is made, the impression it makes on the viewer. Here, he questions what a work of art is, and the viewer's relationship to it. Raphaël Quenard watches a play of relatively poor quality as a spectator, and decides to modify and rewrite it. By playing a character we understand to be rather depressed, or more simply not well at all.
The staging is simple and limpid, to highlight the dialogues: both those of the play, and those of Raphaël Quenard's character. A great deal of work has gone into this aspect.
So we're not dealing here with a process that might seem absurd, as in many of the director's films. But in a way, it's a film that explains how to approach all Quentin Dupieux's previous films. Isn't Raphaël Quenard's character Quentin Dupieux? Questioning films and what they're supposed to bring to the viewer. He could stop now and we'd understand all his work.
It's surprising to see the police arrive at the end. This anchors the film in a reality to which Quentin Dupieux has not accustomed us. It's a way of making Raphaël Quenard's observation real.
Le daim (2019)
The most straightforward Quentin Dupieux: a film about a film
For once, Quentin Dupieux has composed a linear, predictable story, but with its share of distinctive points. Jean Dujardin's passion and madness for the Daim, which seems to tip over the edge following a breakup (we're told very little, and that's fine). He crosses paths with a camera. He meets Adèle Haenel, who enters his game. To the end of his madness, which is stopped dead in its tracks when the time comes.
Once again, the director questions his work as an artist, his work as a filmmaker, through this poor clueless character who imagines he's filming something, but knows nothing about the process of creating a film. This is not, of course, a metaphor for the director himself, who is a specialist in all aspects of film-making: directing, scripting, shooting, photography, editing, production. But what's interesting about this director is that his subject is the spectacle, the film, the narrative, the drama. Quentin Dupieux only knows how to talk about films. And so much the better. Here, he's talking about the horror film as a genre, and about a horror film, which is being made before our very eyes, even if Quentin Dupieux's music is strongly supportive right from the start of the film, bordering on the ridiculous, but the viewer isn't fooled when the images shot by Jean Dujardin are shown to the audience.
Beverly Hills Cop (1984)
Nice perfume of the 1980s
This is the first film in the franchise that starred Eddy Murphy. A mix of police investigation and comedy, Eddy Murphy's character and his two Beverly Hills police sidekicks (Judge Reinhold and John Ashton) provoke cool distancing and humor. The contrast between Eddy Murphy's Detroit police style and the Beverly Hills police is the driving force behind the script: cultural difference and social engineering. Bronson Pinchot also brings in elements of humor. On the villain side, we have Steven Berkoff, perfect. And it's always nice to see the underrated Lisa Eilbacher again.
The dynamic works, with a limited dose of action sequences, but just the right amount. Because here, it's the characters that count and make the flavor. In fact, the film opens with a chase with multiple crumpled metal sheets, which is rather the final sequence of some films. As if to say, that's it, it's done, now we can get on with the characters and the cultural clashes. Harold Faltermeyer's music is also striking. It contributes to the memorial imprint of the film. A manifesto of the aesthetics and perfumes of the 1980s.
Plagi Breslau (2018)
Original and effective serial-killer film
A fine detective film in its serial killer variant. With a big twist midway through that heightens the tension even more. Set in the city of Breslau, where a depressed policewoman is investigating a series of highly staged murders by a serial killer. Not helped by the local police (of which she is a member), she is aided by a profiler arriving from the capital, who will take the investigation one step further.
The film contains a fair amount of gore, i.e. Bodies sculpted by our serial killer. There are regularly surprising little elements, followed by dramatic twists and turns that keep viewers on their toes, wondering how things will turn out. Add to this the fact that our depressed policewoman is not at all impressed by the murders, and that the profiler turns out to be rather wacky and obsessive. The result is an original take on the serial killer stalker movie. A variant that incorporates social dimensions, a measured use of digital technology, good-natured black humor and unashamed gore. It ends with a final explanation of the resolution of the investigation and the end of a series of murders that are hard to guess and hard to imagine. Well done. We'll be back for more.
Black and Blue (2019)
A nice dark witness hunt movie
A superb witness hunt movie in which police officers corrupted by drug trafficking hunt down a policewoman because she has witnessed something they shouldn't and risks compromising them. To get out, she tries to rely on the local population, then on her fellow cops, and also on gangs who are not inclined to help her at first sight. Noamie Harris is trapped in a labyrinth of survival.
A fine cast, with Naomi Harris and Tyrese Gibson in subtle performances. With effective directing, natural-looking yet very dark sets and reconstructions, and cinematography by Dante Spinotti, who needs no introduction: all this is driven by a screenplay that perfectly manages each of the dramatic arcs and their interweaving, penned by Peter A. Dowling, who knows his stuff. Dowling, who knows his stuff. The dramatic principle is that the viewer wonders how she's going to get out of this situation, knowing that everyone wants her dead, and that the more the story progresses, the greater the obstacles. It's a well-born film, then. The film's great achievement is its dark, nihilistic atmosphere, where the law has almost no place.
It's a fine piece of chase work, with tension constantly rising to a crescendo.
The Professor and the Madman (2019)
Nice effort but empathy is missing
It's the story, inspired by true events, of the creation of Oxford's first dictionary. Mel Gibson's character is in charge of the project. Sean Penn is an inmate of a psychiatric hospital who helps him to compile a collection of words, and both his knowledge of the written word and his madness come in handy. The film interweaves all this with a story of class struggle for Mel Gibson and redemption for Sean Penn. The screenplay is quite skillful in making this story quite captivating. We don't mind that the film is inspired by real events. But the film lacks something to fully engage us, to make us feel concerned.
The acting is unsubtle. The actors believe in their characters. But Sean Penn overdoes it. Mel Gibson is more sober. The technical credits are perfect, it goes without saying: sets, costumes, photography, make-up, everything is top-notch. But we're left wanting more, perhaps for lack of empathy. We have none with Sean Penn's character; we are indifferent to his turpitude. We have a little with Mel Gibson's character. But his character doesn't evolve, stays in the background, doesn't show much proactivity. The fact that it's a true story doesn't guarantee the film's interest.
All in all, it's a curiosity about its main subject, the creation of a first dictionary of the language's words.
Three Thousand Years of Longing (2022)
Timeless movie by a director of his time
Between two installments in the Mad Max franchise, George Miller signs (he is the co-writer) an unclassifiable, timeless film, not only in terms of its subject matter, but also its artistic direction and treatment. We could even say that the film is completely out of step with what's been happening in recent years.
Which ultimately makes it curious, not indispensable, but interesting. On its form, because the film has benefited from the means at its disposal. Its subject is a genius (Idris Elba, solid) who is brought to life by a cultural specialist (Tilda Swinton, moving) who tells him his story. The film's visual richness comes from its many eras, settings and characters. Admittedly, this story of genius seems anachronistic and only mildly exciting. But this film is worth considering, because when an artist like George Miller takes an interest in it and creates it (art direction, direction, screenplay), it's bound to be interesting and have something to offer. We find in it some of his bestiary and his preoccupations.
All in all, the film is about solitude and love. Beneath its mysterious, fantastic trappings lies a portrait of several solitude, who meet and love each other. When you put it like that, you'd almost think you were watching Aki Kaurismäki, but not at all: we're in a highly sophisticated fantasy world.
Titane (2021)
Unique, harsh, sensitive souls abstain, but human, that's the film's strength.
A film about monsters. Where Julia Ducournau succeeds is in linking the different stories together: Agathe Rousselle's peregrinations as a killer, then her escape; her meeting with Vincent Lindon and their life together; then Vincent Lindon's slide into madness (if it wasn't already there), monstrosity or something else.
Julia Ducournau succeeds in her gamble with an enthralling, dazzling ensemble that blends horror with empathy. After showing her monstrous, empathy-less character, her meeting with Vincent Lindon humanizes her, or so little, but manages to make us empathize, first with Vincent Lindon's character, then with her, as she seems to find some semblance of satisfaction in her relationship with this fireman, lost or mad or under chemical influence, who takes her in (for a reason we won't divulge), but who revives the story.
The decision to always show from the point of view of Agathe Rousselle's character is the right one. We never see the police searching for her (apart from the spotlight on the TV screen). We're not interested. And everything suggests that the outcome of the story can only be tragic. But for what?
Julia Ducournau's talent is to have created an unclassifiable, unique film, unprecedented (even by David Cronenberg), a powerful, disturbing work of art brut that doesn't provoke debate (you either love it or hate it), but makes you think. The film's strength lies in the fact that it doesn't explain where the characters come from, and doesn't allow us to guess where they're going. A masterpiece.
The Marsh King's Daughter (2023)
Nice piece of work by Daisy Riley, but very predictive
We're dealing here with a classic story framework where, after an introduction to establish the background, a major event will bring back the past and turn the film into a thriller.
The ingredients for this storyline are a couple and their child who live in the marshes, living off hunting and what nature has to offer. The father is tyrannical and mistreats his wife. But he teaches his daughter the hard way to live and survive in a world of nature. She will leave her family to lead a normal life. But her past, and especially her father, will come back to haunt her, and she'll have to deal with the situation on her own, on the ground, in the swamps.
Good suspense, fine performance by Daisy Ridley, who carries this film on her shoulders. The father, Ben Mendelsohn, is more of a caricature, monolithic and typical, and therefore unsurprising. And the film as a whole is rather predictable and unsurprising, even if it works. We'll note the very successful sequence where Daisy Ridley suspects that her father is loitering in her house or outside: fine work of interpretation and climate, through the work of photography, care and editing to create tension. Neil Burger knows how to handle this subject. We don't know Divergente (2014), but we like The Illusionist (2006) or The Upside (2017), his successful remake of Intouchables (2011), and his Limitless (2011) is said to have good qualities.
Yara (2021)
Dispensable in form, but honest on the subject.
A teenage girl disappears and is found dead after being raped. The investigating prosecutor must confront the prevailing misogyny. The prosecutor is played by Isabella Ragonese. But the investigation also faces the challenge of finding clues. In an age before digital technology and centralized fingerprint files. As a result, finding a culprit from a clue takes a lot of time, a bit of luck and coincidence, persistence and patience.
False leads, an investigation spanning several years, for a detective film in which the investigation progresses in small steps, evolving towards false leads because of the urgent need to find a culprit, but also towards possible leads based on DNA testing and its widespread use. The scriptwriter is a screenwriting veteran: we can say that this is a good story, which captivates the viewer, who wonders whether the killer will be found. The form is that of a Netflix TV movie, in other words, without any ambition. Dispensable in form, but honest on the subject.
Where the Crawdads Sing (2022)
Nice green movie with several flavors
Here's a material made up of multiple riches. Nature and marshes, where a little girl lives and grows up. A body is found, and she's accused because it's a former lover. She also has a love affair. She draws and maps the fauna and flora of the marsh. A swamp crime thriller and an ode to nature, plants and animals are the ingredients of this story. With the right messages about respect and the beauty of nature. And with the elements that make the behavior of this environment rub off on his personality and his relationship with other humans.
In terms of scenery and landscapes, the film is very beautiful. The reconstruction is successful - we're in the 50s and 60s - in the South. The chromos, not of the American dream, but of the little people, are present. The cast is excellent: Daisy Edgar-Jones brings out the strength, vigor and fragility of her character. She eclipses the rest of the cast, who seem bland and a mere foil.
Last but not least, the film contains a revelation at the very end that adds spice to the well-orchestrated and well-conducted preceding story, which otherwise began to seem long (125 minutes long, after all).
Cha wu ci xin (2022)
Effective taiwanese psychokiller hunt
A depressed policewoman (she is on the verge of suicide in the first shot of a film) investigates the murder of a young Thai woman whom she meets by chance. Other disappearances will follow. The bodies are mutilated. Is he a serial killer? She leads the investigation and manages to find out: it concerns a girl in an illegal situation in Taiwan; they arrive from Thailand. But some disappear and are found with missing organs.
Everything often takes place at night and often in the rain, in a dark, depressive atmosphere, very successful. Our investigator is not a superhero, and the Taiwanese police don't seem very efficient either. Janine Chun-Ning Chang carries the film and carries out the investigation with difficulty.
The film is a success in its genre. It maintains the viewer's attention until the culprit is identified and his confrontation with the policewoman.
Anatomie d'une chute (2023)
Very nice and well thought whodunit
This is serious stuff. The story and screenplay are well crafted and written, and the film flows smoothly from Sandra Hüller's story with her husband, told in flashbacks, to her relationship with her lawyer and her relationship with her son, despite its 2.5-hour running time. This is the sign of a film that is dense in its themes, in its dramatic form, and that wins the viewer over. The film deals with the life of a couple, bisexuality, the role of the woman in a couple, or, for example, the fact that it is not the truth that is analyzed in a trial. From the starting point of the film, the father's death, there follows an investigation carried out from the point of view of the mother or other characters, to support the lawyer's argument, and then to follow the trial. This is where the film is interesting: we are not from the point of view of the police or the investigator, but we are from the point of view of the lawyer preparing for the trial.
The fact that the child is blind is the spice of the script and allows for some of its twists and turns. This screenwriter's trick, or not, is perfect for handling the twists and turns of dramatic progression. It's really well written and thought out.
In terms of form, the diegesis is so dense that the cinematography is flat, a little bland, transparent, even televisual. But the film is not about form. The film also contains very little music, and this works very well.
The film also allows itself to maintain a certain mystery concerning Sandra Hüller's character, even at the end of the film.
Astérix & Obélix : Mission Cléopâtre (2002)
Funny moments, but boring moments too
Asterix and Obelix are secondary characters, and the link with the comic strip is tenuous. In fact, they don't feature much on screen at all. The star is more Jamel Debbouze as the architect whom Cleopatra (Monica Bellucci, perfect) orders to build a palace and pyramid to impress Caesar (Alan Chabat in a moronic role).
Jamel Debbouze does his show, and it works. Gérard Darmon is a good villain. Their Bruce Lee-style kung-fu confrontation is very sympathetic. But it's a far cry from Jim Carrey and the Farrelly brothers in Dumb and Dumber (1994).
On the whole, beyond certain scenes and gags taken individually, the film remains sluggish and sorely lacking in dynamism. All the scenes in which Asterix and Obelix appear could be removed, but that wouldn't change anything and would reduce the film's running time.
Chernobyl (2021)
Nice tension moments intricated with personnal sentimental intrigue
This Chernobyl focuses on the firefighters who intervened to extinguish the first fire just after the reactor explosion. To elicit empathy, the script focuses on one of these firefighters, who reunites with his former lover in Chernobyl and realizes that she has a child, of which he is probably the father. This occupies a long, well-acted, sympathetic prologue. Then there are the spectacular sequences linked to the intervention at the nuclear power plant after the explosion. The script focuses on two characters: the fireman, Danila Kozlovskiy, and his fiancée, Oksana Akinshina. The actors are good and the ensemble works, even if the film is slow to get going.
The subject matter is so strong that it's impossible not to be moved by certain sequences. The sequence involving the three firefighters in the water to open the water drain is the film's high point, spectacular and, of course, extremely tense, as they descend into the plant's basement in the dark by the light of their torches. It's well done and builds tension steadily and impressively.
In the end, the 2 hours 16 minutes pass by themselves, even if the plot concerning the couple (our firefighter and his ex) frankly bores us. Especially since the scriptwriters, to ensure empathy, have made the son the first victim of the explosion and radiation, leading to sequences in which the couple want him to be evacuated and treated, knowing that it's not possible to treat or evacuate everyone.
The Whistleblower (2010)
Gripping, stressful, very good diplomatic and political thriller
Rachel Weisz is a policewoman volunteering for a peacekeeping mission in Bosnia. There, she's going to discover illegal things that are going to be difficult to investigate, because corruption is rampant everywhere. Rachel Weisz is a whistle-blower, but one whom no one wants to take seriously. She will have to face her colleagues, the local police, her hierarchy, the various mafias, among others, alone against everyone.
The film also shows the atavisms in Bosnia: misogyny, patriarchy, racism, intercultural hatred. The film is a good dose of all the components. Investigation, corruption, local life, the life of a transnational organization, the law, to whom it applies and impunity.
Rachel Weisz embodies the character with strength and vigor, as she always does. She carries the film on her shoulders.
Cash (2023)
When exploited workers build their capitalism
Superb casting for a film in which warehouse employees embezzle part of the production for their own benefit. The gang is led by Raphael Quenard. They start small, then the team grows. All against a backdrop where the factory is about to be sold. This allows the film to address factory life and organization, between the boss, the human resources manager and the team leader.
The film's first quality is that, although we can more or less guess what's going to happen, the progression is simple and regular, maintaining the viewer's interest, containing just the right amount of ellipsis to produce just the right amount of well-placed surprises. The script manages to blend the two dramatic progressions: Raphaël Quenard's team on the one hand, and the boss's intrigue on the other, both of which are bound to come together.
The voice-over of Raphaël Quenard's character works perfectly well and doesn't detract from the narrative.
Another quality is the superb cast, led by Raphaël Quenard, but also including Agathe Rousselle, Brunot Lochet and Stephan Wojtowicz, for example. All perfect.
Tout de suite maintenant (2016)
An idea for a film on an unknown subject
Here's a film that strings clichés together like pearls. Talking about a milieu the authors know nothing about. We sense that the authors are trying to denounce something. But we also sense that the authors don't know what they're talking about. Which, a priori, isn't a problem. You don't have to be a chicken to smell a rotten egg.
Added to this unrealistic dimension is a cast of characters who don't inspire empathy. If they all suffered more and died, it would be satisfying. We don't care about their personal or professional, sentimental or existential turpitude. Of course, the cast is impressive, ranging from young, up-and-coming actors to old, solid or corny ones. The casting type works to perfection: Jean-Pierre Bacri is still in the same, tiresome character; Vincent Lacoste caricatures himself; Pascal Greggory plagiarizes himself.
But this film is interesting from a historical point of view, as an instance of a cinema idea with pretensions, but empty of meaning because devoid of any link with reality.
Alad'2 (2018)
No direction and vision, episodic humour, lack of consistency
This sequel to Arthur Benzaken's film (The New Adventures of Aladdin, 2015) is a dud. It lacks visual scope. Here, the staging is designed for the tablet or the iPhone, not for the cinema. The shots are closer together, and the characters are less well thought out in the frame. This film is more reminiscent of sequences from TV shows or short films for Internet video clips.
The screenplay (still credited to Daive Cohen) manipulates fewer characters than the first in the series, and seems constructed solely as a pretext for Jamel Debbouze's performances. Jamel Bebbouze is far too present, and his character unbalances the film: Aladin has become a secondary character, even an extra. Jamel Debbouze puts on a show, which is all very well, but it doesn't serve the film. Moreover, each sequence taken individually is sympathetic, even effective on a comic level, but taken together they don't give the whole a coherent approach, a feeling of togetherness. For example, the space/time travel gag, in which they come across Christopher Columbus, is a good idea, but of no interest to the film as a whole. There are a lot of good individual ideas, but there's no overall artistic direction.
Tais-toi! (2003)
Hilarious moments, thanks to Depardieu's Quentin
The new vision of Francis Veber's film is very positive. And much better than we remembered.
Gérard Depardieu is credible and brilliant as Quentin de Montargis, a simple-minded man looking for a friend. Francis Veber is reworking the script he wrote for L'emmerdeur (Edouard Molinaro, 1973). With different parameters. Jean Réno is still a killer, out for revenge. Gérard Depardieu isn't depressed like Jacques Brel, but very stupid, as André Dussollier, his prison psychiatrist, says. And he falls in love with Jean Réno, who will drag him around like a ball and chain, but who will ultimately help him achieve his goal.
Sequences of anthology (Gérard Depardieu's meetings with his fellow prisoners at the beginning of the film), rhythm, brilliant acting (Gérard Depardieu is brilliant in his interactions with Jean Réno), the film is jubilant. But it's still a rather misanthropic vision of humanity: killers, a simpleton, a migrant woman, a murdered woman, an alcoholic - Ticky Holgado -, a psychiatric hospital with a psychiatrist as the patient - Michel Aumont -. Perhaps only the cops are normal human beings in this film.
Les Tuche 2 : Le rêve américain (2016)
Nice suprise even though not lightweight
Morons are always good material for a film, comical at first sight. Here, they're set in a seemingly unlikely environment. The USA, with the midwest, then California. The film tackles some fashionable themes, such as gay marriage. But it also touches on the universal themes of the Tuche franchise: family feeling and solidarity, from parents to children, to elders (with the grandmother character here); there's also the open-mindedness of the family unit. The film also indulges in some pastiches, in this case on plastic surgery.
The Tuches have a lot of sympathy. They love Little House on the Prairie. They're open-minded. And the film contains a number of gems: Claire Nadeau's interventions, Pierre Lottin's dialogues, and of course Jean-Paul Rouve and Isabelle Nanty who are at their best, with the particular psychology of the father of the family. These Tuches are a delicious antidote to a certain self-righteousness.
There's also their dispute with the Californian family, which is dealt with in an interesting way, but which could have been more fully developed; it can't work for the son because it violates the Tuche family rules. Note that the film shows that money has qualities and can put anyone in power, and as if having money gave talent... We leave it to you to imagine to whom this might apply.
It has to be said that the writing work is significant and successful, whether on the main dramatic film, or within each scene. Five scriptwriters are credited, and a great deal of work went into devising the comic elements of each sequence.
Les nouvelles aventures d'Aladin (2015)
Nice collective work with nice visual ideas
Arthur Benzaquen and his technical team have created a wide-ranging, spectacular film, in which every shot conceals a crazy idea without disrupting the storyline. The film is rich in characters, who are well written and well cast. Jean-Paul Rouve, Vanessa Guide, Audrey Lamy, Eric Judor, Michel Blanc, Kev Adams - the whole menagerie is perfect. Not forgetting Arthur Benzaquen himself.
The cavern sequence with its musical tiling is an excellent idea and a clever pastiche of Indiana Jones. The flying carpets are perfect, thanks to digital technology. It's rhythmic. It's spectacular. And it's fun. It's a success in its genre.
Kev Adams is the carefree, venal hero. Jean-Paul Rouve as the bad guy who knows he's bad. Vanessa Guide and Audrey Lamy play characters who add mischief and twists. The whole cast makes a well-balanced contribution to the peregrinations of Adalin Kev Adams, who isn't the most interesting character, but fortunately all the others are, with their humor and contribution to the story.
L'humanité (1999)
Humans... Bruno Dumont's masterpiece
What can we say about this masterpiece, this monument? The murder of a little girl, a policeman, a couple of friends. The actors are non-professionals, with their mannerisms, their slowness, their hesitations. And there's a very loose police investigation framework, with the daily lives of certain individuals in the background: the factory worker, her bus-driver lover, the policeman, the policeman's mother, the policeman's boss. But also the scenery, the streets, the sea, which are almost characters in their own right, being imperative constituents of this investigation. The film contains many landscapes, viewed by the protagonists, and especially by our investigating policeman, who is secretly in love with Séverine Caneele. This is another of the film's dramatic motifs: Emmanuel Schotté is attracted to Séverine Caneele. And finally, our policeman is also attracted to smells and touch. Hence those astonishing moments when he caresses or smells suspects.
We understand why David Cronenberg and his jury gave the acting awards to Emmanuel Schotté and Séverine Caneele. They may be amateur actors, but their performance is extraordinary.
Bruno Dumont's characters walk a lot. They walk a lot, and they expect a lot too. They're reminiscent of Takeshi Kitano's characters, who also walk a lot in his films.
Bruno Dumont doesn't hesitate to show sex, i.e. Sex scenes, but also a sex, that of his main female character, or of her understudy, whatever. As well as that of the murdered little girl. But he doesn't hesitate to show a character in suspension, scanning the horizon (suspension is a recurring theme in Bruno Dumont's films).
This humanity, these simple human beings whose preoccupations are few and far between - working, strolling, waiting - are the fundamental elements of Bruno Dumont's cinema. There's no need here for extraordinary activity, super-humans or complex plots, to tell a story that is not simple, but surprisingly dense, thanks to these actors.
Znachor (2023)
A nominal and standard Netflix feature with a perfume of Poland
A costume film set in early 20th-century Poland, where a renowned doctor suffers amnesia and finds himself a homeless man roaming the country, helping the little people - he knows what to do, but doesn't know why, and doesn't remember that he's a doctor. His past will gradually return through his daughter, and his former colleagues. The two screenwriters, Marcin Baczynski and Mariusz Kuczewski, have done a fine job with Tadeusz Dolega-Mostowicz's novel.
It's hard to criticize a film like this: the form is Netflix standard, but the film takes on substance through its characters and actors and a script that features elements of class struggle. For he treats the poor, the peasants. But he's prevented from practicing. The plot revolves around his daughter, who strikes up a relationship with a rich man.
The character of Anna Szymanczyk, the woman who welcomes the amnesiac doctor into her mill, is a strong woman who controls her destiny. Leszed Lichota, in the role of the doctor, is also memorable, even if he regularly lapses into unsubtle melodrama.
The film ends in court, as he is accused of practicing medicine without a license. We won't reveal the outcome. But all the dramatic arcs converge on the same point.
The Hustle (2019)
High energy tandem
Chris Addison comes from the TV series to direct the screenplay by Dale Launer, Stanley Shapiro and Paul Henning, reworked by Jac Schaeffer. For this is an adaptation of the screenplay for the 1988 Frank Oz film Dirty Rotten Scoundrels. In this adaptation, the duo of Steve Martin and Michael Cain are replaced by Rebel Wilson and Anne Hathaway.
The film takes the cake thanks to Rebel Wilson's blend of vulgarity and naiveté, audacity and improvisation, in a world of hustlers where the duo of Anne Hathaway and Rebel Wilson, professional con artists, collect gogos full of money, which they of course seek out in tourist spots for the very rich. The modus operandi works very well: the mistress, Anne Hathaway, trains the pupil, Rebel Wilson, on how to make men cough up money. Then, in a twist of fate, they challenge each other and go head-to-head, focusing on the same victim. Only to be surprised in a world where everyone lies in their own way. And where a gogo reveals himself in unexpected ways. The duo's energy and complementarity work perfectly.