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16.8.10

Et si on allait au cinéma ? Merci à Judy Davis!


Qu’est-ce qu’il fait beau ! Il y a (enfin) du soleil dans l’ouest de l’état de Washington ! Pour les amateurs du soleil, n’oubliez pas la crème solaire. Pour ceux qui souffrent : Le cinéma est climatisé !
Judy Davis (Seattle Prep) partage avec nous ses films préférés de cet été. Pour ceux qui habitent à Seattle, il y a des vidéothèques excellentes telles que Scarecrow Video (5030 Roosevelt Way NE, Seattle, WA 98105) et Video Isle (2213 Queen Anne Ave. N./ 4459 Fremont Ave N.). Si vous habitez loin d’une bonne vidéothèque, je suggère fortement Netflix. Le choix est formidable et les films arrivent rapidement dans votre boite à lettres. Netflix offre également l’option de visionner quelques films étrangers en ligne !  N’oubliez pas de soutenir vos cinémas indépendants locaux. A Bellingham, nous avons « The Pickford » et à Mount Vernon, c’est « The Lincoln. » Quels cinémas fréquentez-vous ? Où trouvez-vous les DVDs et les films étrangers ?

Films à voir:
Le Petit Nicolas 


This dark, slightly absurdist comedy from France topped the French box office in 2009, becoming a local phenomenon. It is narrated by Nicolas (Maxime Godart), an eight-year-old boy supremely happy with his loving, doting parents and a colorful group of friends. It seems that life couldn't possibly improve - until Nicolas eavesdrops on his folks and surmises that his mother is pregnant. Horrified, he envisions a scenario where a new baby brother arrives and crowds him out of the house, leaving his parents with no time to care for him. Nicolas and his friends then cook up a series of wild schemes to dispose of the baby.
Le Hérisson

With a magical blend of gravity and levity, director Mona Achache deftly brings Muriel Barbery’s widely-loved novel and its two intriguing and delightfully complicated characters to life. Lover of art and philosophy, 11-year-old Paloma (a precocious Garance Le Guillemic) is disenchanted with the hypocrisy she perceives in her immediate world and pledges to end her life before she herself falls victim to it—and by the date of her next birthday. With 165 days to go she commits to documenting her environment with her father’s High-8 camera. Through this unique lens, and with Paloma’s caustic, and often hilarious commentary as the soundtrack, we enter the cosmos of her upper-crust Parisian apartment building and, as third-party sleuths, glimpse the interior lives of the characters who inhabit it—in particular, grumpy, frumpy concierge, Renée Michel (the marvelous comedienne, Josiane Balasko). When Paloma’s camera reveals an extensive secret library in Renée’s back room, and that the usually gruff matron reads Tolstoy to her cat, Paloma begins to understand that there are allies to be found beneath the prickliest of exteriors. And, when she notices that the new tenant, elegant widower Kakuro (Togo Igawa, Memoirs of a Geisha), is paying courtly attention to Reneé, Paloma sees a new mission ahead of her. As the unlikely friendship between this disparate trio deepens, Paloma’s own coming of age becomes a much less pessimistic prospect.

Pièce Montée (The Wedding Cake)
When Vincent and Bérengère decide to get married, they do so in the high style of the haute bourgeoisie, from the chateau to the catering, which features a piéce montée—a towering cake, precariously assembled from cream puffs and caramel. On a beautiful spring day, the respective families of the bride and groom arrive in their elegant clothes and their luxury cars. The mother of the bride’s concern with appearances even extends to covering up an unsightly martyr at the church where the ceremony is to be held. But not everything is comme il faut, as becomes apparent when the crusty local priest rushes through the rites and chases the wedding party from the church. What is his problem? Bérengère’s grandmother knows, and when she tells, it sets in motion a chain of events that threatens to bring down a family façade cultivated over decades. Based on Blandine Le Callet’s eponymous debut hit novel, this confection from director Denys Granier-Deferre (15 years after his previous big-screen foray) uses the prism of each guests' points of view to reveal everyone's shortcomings and the hypocrisy of the event.


 Micmacs ( Micmacs à tire-larigot is the original title)

Avid movie-watcher and video store clerk Bazil has had his life all but ruined by weapons of war. His father was killed by a landmine in Morocco and one fateful night a stray bullet from a nearby shootout embeds itself in his skull, leaving him on the verge of instantaneous death. Losing his job and his home, Bazil wanders the streets until he meets Slammer, a pardoned convict who introduces him to a band of eccentric junkyard dealers including Calculator, a math expert and statistician, Buster, a record-holder in human cannonball feats, Tiny Pete, an artistic craftsman of automatons, and Elastic Girl, a sassy contortionist. When chance reveals to Bazil the two weapons manufacturers responsible for building the instruments of his destruction, he constructs a complex scheme for revenge that his newfound family is all too happy to help set in motion.

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