psychomantisx

A film particularly underestimated in my opinion, more intelligent and poetic than it seems. We can blame him for being a little too classic and yet, it is in the discussions between Dave Robicheaux (Tommy Lee Jones) and General John Bell (Levon Helm) that it finds the heart of the film, as well as in the false appearances of cinema, in this discussion with a ghost.

Look for answers... When are we going to stop being cowards and stop exploiting each other? Let the thugs make their laws and use appearances and ignorance to enslave their environment.

Let us go back to the American sources of this fish that comes from our country. In these marshes, in this slump, where people do not dare to speak out of fear of reprisals. What must the righteous do to stop this? Power and money destroy everything, it gives power to the worst, Bertrand Tavernier reveals the detestable face of these false pretences in our society and does not spare the slave bosses but especially not the power that gives cinema.

It is through a magnificent John Goodman that the icing on the cake of exploitation and corruption all makes sense, how corruption closes the eyes and silence the mouths. Silence and letting it happen is the poison of our societies and our own exploitation.

Subtly these themes are treated on many levels, so it is a film to review on many points because yes, these thugs will also attack our children without a doubt and it is... That is already the case. Let us never forget our past, because the battlefield is never really conquered.

An evidence that many do not know yet, the cinema of Tarantino is obvious, No? And it is particularly essential in our time. Reservoir dogs takes care of fakes, Pulp Fiction takes care of thugs, Kill Bill of patriarchy, Inglorious Bastard of the Nazis, here is Django who takes care of white slavery.

We can love or hate Quentin, for his magnificence of cool attitude or his cinematic cultural remix... Quentin always makes a real film with a real subject, even if he has fun with it, he does it with exemplary respect and never forgets to treat his purpose with style and efficiency but without any ease.

Django is a bit his top, here he is who flourishes perfectly in the western or he can take his black identity (because Quentin feels like a black in his heart) and it is a guilty pleasure and so effective. He then uses all the weapons of his cinema to kill these white slave bastards, not without irony, by making a German the liberator and by blowing himself with dynamite.

A great Tarantino, for a great subject.

After "Les Ardennes" that I liked very much at the time Robin Pront returns with Zillion, the incredible biopic on a nerd who plunges into the world of the night through a success story that will make little echo to those who loved "The wolf of wall street". I don't know the character, I don't know if it's faithful, but the film is really great.

Overexcited and overexcited like his eccentric character, welcome in the Belgium of the 90s, the film is a real blast that takes off at 100 per hour. Difficult to be bored, the characters are a treat, the story is hallucinating and the staging is very nice. The feeling that emerges for me is a real plunge into a world of madness, decadent, immoral, voyeur but so enjoyable.

The actors are very good, the light and the music are excellent, the editing is thundering, a beautiful surprise that certainly looks like a roller coaster and whose inevitable decadence is both tragic and pathetic, a story of friendship and opportunism, filled with characters as endearing as decadent. Like Boogie Night in a little less trash anyway, the trip is as terrible as exciting.