#production dargent

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[firstpersonnarrator]

Theatre review: Starry cast of Endgame includes Robert Sheehan and Frankie Boyle

As this production at the Gate underlines, Beckett's work has felt all the more pertinent in the pandemic

Source: The Irish Examiner (X)

Quoted: “Robert Sheehan’s Clov is another highlight, reminding us of his past incarnation of the Playboy, finding the echoes of Synge that were always there in Beckett’s text, while also nodding towards the worlds of Enda Walsh and Martin McDonagh.”

That scenario raises the fundamental Beckettian question: why go on? If in Waiting for Godot it was because something, an arrival, might happen (though of course it doesn’t), in Endgame it’s because, well, something might stop happening. We might get some release, some definitive, meaningful closure.

That scenario raises the fundamental Beckettian question: why go on? If in Waiting for Godot it was because something, an arrival, might happen (though of course it doesn’t), in Endgame it’s because, well, something might stop happening. We might get some release, some definitive, meaningful closure.

Yeah right. Closure, of course, is asking too much. This is Beckett after all. But Danya Taymor’s production does offer release. It’s palpable on opening night: a first full house in years is determined to have fun, determined to laugh at the jokes, quips and asides, many of them poking fun at the very idea of theatre, the very idea that we would watch this stuff. And that raises an odd question: is an Endgame this enjoyable, this, well, fun, a betrayal in some way of the text?

This strange feeling is not helped by Frankie Boyle’s Hamm. He’s a sardonic so-and-so, but under it all a bit of a softie, too. He’s not the monstrous Hamm one is accustomed to, the irascible egotist who exerts such a gravitational pull on the others in this little world. And without that threat of anger, that mood of resentment, the play loses something. It becomes too easily digestible, a bit too knockabout for its own good.

A brilliant turn from Sean McGinley as Nagg (alongside, in the dustbins, Gina Moxley’s Nell) reminds us of what’s missing. His long speech to Hamm is a wake-up call almost, suddenly touching the true bleakness of the text.

Robert Sheehan’s Clov is another highlight, reminding us of his past incarnation of the Playboy, finding the echoes of Synge that were always there in Beckett’s text, while also nodding towards the worlds of Enda Walsh and Martin McDonagh. The design is strong, too, with Isabella Byrd’s subtle, shifting lighting, and Sabine Dargent’s set.

There is, then, much to enjoy in this production, which Taymor never lets flag. And to sit and wrestle with why some of this might be problematic makes for an engrossing night of theatre.

[ash-mcj]

Derek’s mum (low-key can’t remember her name and am to lazy to google). 😏

Or, Chris Argent. 😘

You said Talia 'or' Chris - but I'm reading that as 'and' lol. Thank you for the ask!! If anyone else wants to ask about a character, feel free!!

I have way too many thoughts, so I'll put them under the cut

TALIA HALE

1 - How I feel about this character

I don't like her. From what we were shown of her, she did not impress me. She erased Malia from Peter's head (very likely against his wishes) and had her placed with a human family - whom she was bound to injure eventually. She really left a shifter without a pack to help her with her control. She risked the lives of Malia, Malia's adoptive family, AND the secrecy around the supernatural... and for what? Corinne? The freakin Hale pack could've taken her down if they really wanted to. Then in another scene, we see Talia showing up to a Summit with the other Alphas, in her full shift. Why? Nobody else was shifted - she was just wanting to show off this special ability she had. It made her come across as very egotistical to me. And perhaps it was to show that she was a powerful Alpha so that no one would cross her, but... well, no one really seemed like they wanted to? It just seemed pointless. Apart from that, we didn't really see much of her. Peter doesn't seem to be able to stand her - he appears very bothered whenever speaking about her. That makes me assume that they had a bad relationship. Derek didn't seem to have any idea how to be an Alpha - which he really should have, by watching his mom. The same way people learn to be parents by having watched their parents raise them (whether deciding to copy them or make sure not to do so). Derek just trained his betas and didn't bother emotionally bonding as a pack - so I can only assume that that was what he was raised to think Alphas were supposed to do. Also, Laura thought it was fine to just leave Peter in Beacon Hills and move across the country while he was in a coma for SIX years - knowingly making him an injured, unstable omega. If she thought that was fine, then Talia didn't do her job in training her as a good Alpha or a good person in general.

2 - All the people I ship romantically with this character

Deucalion and possibly Alan Deaton

3 - My non-romantic OTP for this character

Melissa McCall. I don't know why I could see it, but I really could.

4 - My unpopular opinion about this character

She was an unattached, egotistical Alpha - and very likely a similar mother.

5 - One thing I wish would happen / had happened with this character in canon

I wish we got to see more about her relationship with Peter.

♥

CHRISTOPHER ARGENT

1 - How I feel about this character

I love him!! He's one of my favorites.

2 - All the people I ship romantically with this character

Peter Hale (Petopher) and Noah Stilinski (Sr Stargent, i think?)... also in a throuple with those two (Sr Stetopher)...and sometimes, I can get behind him and Derek Hale (Dargent).

3 - My non-romantic OTP for this character

Melissa, definitely. But also Deucalion, oddly enough. I don't want to get into talking about Deucalion, since this ask is about Chris, but I do think that they would be good friends. They are both smart, serious, and pretty sus. I could definitely see them working together or having a beer and talking about how annoying the pack is. Melissa, Deucalion, and Chris would be such a cool friend group.

4 - My unpopular opinion about this character

He's still speciesist as shit. He might not be crazy like Gerard and Kate, but he has no qualms about taking down wolves as long as it fits the code. I think people look at him helping the pack and think he's changed, but I don't believe that at all. I think the fact that Allison was so involved with the McCall pack made him tied to them out of obligation. He's the adult among all the kids, and he feels like he has to help them protect the town because Allison would've wanted that. I really don't think it's because he thinks werewolves are equals to him or anything. He was very upset when he caught Allison and Isaac - with a focus on the fact that Isaac was a werewolf, rather than her having a guy over. He also freakin shot Malia in season 6. Like... she was running and he just shot her in the leg super casually. He tried to act like she was being feral, but I think that was kinda bullshit. When he and Melissa went over to her, she was roaring and snarling at him (because he shot her), but she was making no aggressive moves. We know for a fact that a single bullet to the leg is not enough to take down a creature that wants to harm you, so she obviously wasn't a legit threat to them. And he just looked down at her with zero remorse. He thought of it like shooting an animal that could've possibly been violent. Then when they were digging the bullet out and Malia was in all this pain, he had the audacity to make jokes about him being in pain - when this whole thing was his fault. He just didn't even care that he put her through it. I love Chris so, so much - but that dude is a product of hunter life and he definitely holds those speciest beliefs still.

5 - One thing I wish would happen / had happened with this character in canon

I wish I got to see him interact more with Peter and Derek. I wanted Kate's crimes against Derek and the Hales addressed more. I want to know what that head bump between Peter and Chris was about , because that was intimate as hell for a couple people who seemingly never really interacted. There had to be some behind the scenes shit going on. Maybe before the Hale fire, maybe during the show. I'm so curious about it.

[artwalktv]

A Musician in the deep state of a creative crisis is signed to a rehab program at the highly protected, isolated sanatorium that promises a lifetime warranty for endless inspiration. A bourgeois setting with welcoming stuff slowly creeps into a violent cult that tortures artists in the name of inspiration. The musician’s greatest hit becomes his darkest nightmare. DIRECTOR ANDZEJ GAVRISS PRODUCTION DESIGNER JULIJA FRICSONE GAVRISS DOP JACOB MOLLER EDITOR DAVID GESSLBAUER COMPOSER RAPHAEL DARGENT SOUND DESIGNER JULIAN HOLZAPFEL PRODUCER ANNA BOKINA CREATIVE PRODUCER ELNARA IALALTDINOVA SCREENWRITERS ANDZEJ GAVRISS ELNARA IALALTDINOVA BULAT KARIPOV EXECUTIVE PRODUCERS ANDREY PAOUKOV LENA SAMOILOVA ARTEM TSAREGORODTSEV COLOR GRADE MATT OSBORNE PRODUCER DASHA DERIAGINA EXECUTIVE PRODUCER SASHA CHERNIYAVSKIY 1AD KRISTINA ILYINA PRODUCER ASSIST SASHA TIMKOV PRODUCER ASSIST ZHENYA GRYGORENKO POST PRODUCTION PRODUCER MAX KOBZYSTIY CASTING AGENCY EASY CASTING CASTING DIRECTORS: YULIYA SHATSKOVA KARIN MELNICHENKO CASTING EXTRAS SANDRA CHERNOBROVINA CHOREOGRAPHER KONSTANTIN KOVAL STUNT ILYA VOLODIN SET DECORATOR DANIEL DUBROVSKY PROPS MASTER - OLEG KATSAN SCENIC ARTISTS - BOHDAN KONAH, ZOLOTAREV DENIS, OLIYNIK VLADISLAV, CHELNIK YEVHEN COSTUME DESIGNER MARGARITA SHEKEL WARDROBE ASSISTANT IRIS LARICHEVA ANNA KRASHOSHAPKA ANDRII BIB HEAD OF HMU DASHA TAIVAS MAKEUP ASSISTS - LYALYA MUDRAK KATYA MAKSIMOVA SABINA GAHRAMANOVA SFX MAKEUP OLGA GARTZ HAIR IRIS SEMCHYSHYN OKSANA CREREPANIA LOCATION MANAGER VIKTOR SHAVA PRODUCTION MANAGER DENIS KUMEIKO CAMERA & DOLLY DIMA MYKHAILOV PASHA SHIMKO ANTON SHEVCHUK VLAD FORIS DRONE CREW ZODIAC DRONE PILOT DMYTRO FRANCHUK DRONE CAM OP EUGENE GARKAVENKO GAFFER MAX RUBAN LIGHTNING CREW DRON HALABERDA ARTEM ALEKSIN YAROSLAV VOITSEHIVSKIY EUGENE KREDENTSER SERGEY SUHENKO SERGEY RUBAN DEN POBOROZNIK STEADICAM RUSLAN BOHDAN 1AC JENYA BUBLEY SFX TORNADO DIT / VIDEO ASSIST ALEXANDER SOFYIN SLAVIK PETRENKO SOUND ANDREY VASKOVSKIY CLAPPER HELEN KASUMOVA RUNNERS VITALIY IVANUSHEV DEMIAN KULITSKIY CATERING MIGEL SLUSARENKO 2ND UNIT DOP ILIYA MAKSYMENKO 2ND UNIT 1AD ALEXEY SAVELOV 2ND UNIT 1AC SERGEY PANTELEEV HEAD OF TRANSPORT DEPARTMENT SERGEY LISOVSKYI CAST DIVA - NATALIA KARA DIO - IGOR KOVALENKO DIO’S GIANTS - DMITRIY, YURIY, ANDREY OSTAPENKO ANGEL - ZHENIA SABADASH ANGEL - SOFIA KIRIECHENKO ANGEL - DASHA GERASHENKO ANGEL - DASHA SAMOILOVA ANGEL - VIKA SOLOVIEVA ANGEL - TANIA PONOMAREVA ANGEL - POLINA ISAENKO ANGEL - ALENA STOLIAROVA JONAS - KIRILL PARASTAEV MANAGER - TANYA RUBAN RECEPTIONIST - ALINA KOSTUKOVA SINGER - LAYAH SPECIAL THANKS TO PATRIOT RENTAL COMPANY SPECIAL THANKS TO DIPLAY PLAYBACK COMPANY

[aronsonfilm]

ELEUSIS from Andzej Gavriss on Vimeo.

A Musician in the deep state of a creative crisis is signed to a rehab program at the highly protected, isolated sanatorium that promises a lifetime warranty for endless inspiration. A bourgeois setting with welcoming stuff slowly creeps into a violent cult that tortures artists in the name of inspiration. The musician’s greatest hit becomes his darkest nightmare.

DIRECTOR ANDZEJ GAVRISS

PRODUCTION DESIGNER JULIJA FRICSONE GAVRISS

DOP JACOB MOLLER

EDITOR DAVID GESSLBAUER

COMPOSER RAPHAEL DARGENT

SOUND DESIGNER JULIAN HOLZAPFEL

PRODUCER ANNA BOKINA

CREATIVE PRODUCER ELNARA IALALTDINOVA

SCREENWRITERS ANDZEJ GAVRISS ELNARA IALALTDINOVA BULAT KARIPOV

EXECUTIVE PRODUCERS ANDREY PAOUKOV LENA SAMOILOVA ARTEM TSAREGORODTSEV

COLOR GRADE MATT OSBORNE

PRODUCER DASHA DERIAGINA

EXECUTIVE PRODUCER SASHA CHERNIYAVSKIY

1AD KRISTINA ILYINA

PRODUCER ASSIST SASHA TIMKOV

PRODUCER ASSIST ZHENYA GRYGORENKO

POST PRODUCTION PRODUCER MAX KOBZYSTIY

CASTING AGENCY EASY CASTING

CASTING DIRECTORS: YULIYA SHATSKOVA KARIN MELNICHENKO

CASTING EXTRAS SANDRA CHERNOBROVINA

CHOREOGRAPHER KONSTANTIN KOVAL

STUNT ILYA VOLODIN

SET DECORATOR DANIEL DUBROVSKY

PROPS MASTER - OLEG KATSAN

SCENIC ARTISTS - BOHDAN KONAH, ZOLOTAREV DENIS, OLIYNIK VLADISLAV, CHELNIK YEVHEN

COSTUME DESIGNER MARGARITA SHEKEL

WARDROBE ASSISTANT IRIS LARICHEVA ANNA KRASHOSHAPKA ANDRII BIB

HEAD OF HMU DASHA TAIVAS

MAKEUP ASSISTS - LYALYA MUDRAK KATYA MAKSIMOVA SABINA GAHRAMANOVA

SFX MAKEUP OLGA GARTZ

HAIR IRIS SEMCHYSHYN OKSANA CREREPANIA

LOCATION MANAGER VIKTOR SHAVA

PRODUCTION MANAGER DENIS KUMEIKO

CAMERA & DOLLY DIMA MYKHAILOV PASHA SHIMKO ANTON SHEVCHUK VLAD FORIS

DRONE CREW ZODIAC

DRONE PILOT DMYTRO FRANCHUK

DRONE CAM OP EUGENE GARKAVENKO

GAFFER MAX RUBAN

LIGHTNING CREW DRON HALABERDA ARTEM ALEKSIN YAROSLAV VOITSEHIVSKIY EUGENE KREDENTSER SERGEY SUHENKO SERGEY RUBAN DEN POBOROZNIK

STEADICAM RUSLAN BOHDAN

1AC JENYA BUBLEY

SFX TORNADO

DIT / VIDEO ASSIST ALEXANDER SOFYIN SLAVIK PETRENKO

SOUND ANDREY VASKOVSKIY

CLAPPER HELEN KASUMOVA

RUNNERS VITALIY IVANUSHEV DEMIAN KULITSKIY

CATERING MIGEL SLUSARENKO

2ND UNIT DOP ILIYA MAKSYMENKO

2ND UNIT 1AD ALEXEY SAVELOV

2ND UNIT 1AC SERGEY PANTELEEV

HEAD OF TRANSPORT DEPARTMENT SERGEY LISOVSKYI

CAST DIVA - NATALIA KARA DIO - IGOR KOVALENKO DIO’S GIANTS - DMITRIY, YURIY, ANDREY OSTAPENKO ANGEL - ZHENIA SABADASH ANGEL - SOFIA KIRIECHENKO ANGEL - DASHA GERASHENKO ANGEL - DASHA SAMOILOVA ANGEL - VIKA SOLOVIEVA ANGEL - TANIA PONOMAREVA ANGEL - POLINA ISAENKO ANGEL - ALENA STOLIAROVA JONAS - KIRILL PARASTAEV MANAGER - TANYA RUBAN RECEPTIONIST - ALINA KOSTUKOVA SINGER - LAYAH

SPECIAL THANKS TO

PATRIOT RENTAL COMPANY

SPECIAL THANKS TO DIPLAY PLAYBACK COMPANY

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[firstpersonnarrator]

Endgame review: Absurd family comedy set at the end of the world

Not since Ab Fab has watching an insecure parent reliant on their child been as comical

Source: The Irish Times (X)

Endgame stars Frankie Boyle (left) and Robert Sheehan. Photograph: Ros Kavanagh

Quoted: “If Boyle’s performance sits in a constant haze of rich, satisfying selfishness, Robert Sheehan’s hounded Clov drags his heel with a moody boyishness. (“You and I, mean something! That’s a good one,” he sneers, expounding philosophical nihilism and child rebellion in one breath). The clever details of Katie Davenport’s costuming widens the age gap between both men, while the steep angles of Sabine Dargent’s set – like a lost still shot from Nosferatu – frame a household where there are reports of civilisation outside crumbling, of nature disappearing. This family is stuck with each other.”

It’s an understatement to say family relationships are dysfunctional in Samuel Beckett’s absurdist classic from 1957. Inside an empty house on the edge of the apocalypse we find Hamm, a paralysed man seated in a stained armchair, who has trapped his parents inside dustbins (“Accursed progenitor!”). He also tries to adopt Clov as his son – a harried young servant who came to live with him via mysterious circumstances. “It was I was a father to you,” suggests Hamm, tauntingly.

In this vision of hell on earth, it’s tempting for any production to approach Hamm as an unlikeable tyrant. It comes as a surprise in Danya Taymor’s fresh, absorbing revival for the Gate Theatre that when we first meet him, he moans affectedly about his pain as if someone more superficial than despotic. “Can there be misery loftier than mine?” he says, with self-fascination, in Frankie Boyle’s thoughtful performance. You’d think he had sunk into a self-induced crisis.

That lends something new to the play’s double-act. Not only does Hamm comes across as needy while ordering Clov from one tedious task to the next, from making reports of what’s happening outside the windows, to moving his armchair around the room. He also seems to live his life by floating from distraction to distraction. (“I’d like to pee.” “Time enough. Give me my pain killer.” “Is my dog ready”?). Not since Ab Fab has watching an insecure parent reliant on their child been as comical.

If Boyle’s performance sits in a constant haze of rich, satisfying selfishness, Robert Sheehan’s hounded Clov drags his heel with a moody boyishness. (“You and I, mean something! That’s a good one,” he sneers, expounding philosophical nihilism and child rebellion in one breath). The clever details of Katie Davenport’s costuming widens the age gap between both men, while the steep angles of Sabine Dargent’s set – like a lost still shot from Nosferatu – frame a household where there are reports of civilisation outside crumbling, of nature disappearing. This family is stuck with each other.

The play’s wisdom comes from Hamm’s dying parents Nell and Nagg, who, played superbly by Gina Moxley and Sean McGinley, allow memories of an ecstatic lifetime together to cool into an unsettling silence, into the dread of final departures. There are also regrets: a confession of not comforting a crying baby in the night, and a parent’s late-in-life realisation about wanting to feel needed by a child.

No wonder Hamm babbles elaborately and insincerely – to be heard might mean to be loved. It’s a difficult transition from Boyle’s fabulist approach into a more intimate confrontation with fear and rejection, something that Beckett’s play, much like Isabella Bryd’s chiaroscuro lighting, will insist on as tragedy. This might not be the production’s forte, but there is still a fitting conclusion in watching Hamm, after his “final soliloquy”, being abandoned by his servant, who has become similarly affected. “This is what we call making an exit,” snaps Clov, dramatically. Like father, like son.

Runs until March 26th

[karoltabis]

You were expecting another old-school movie, featuring an old dark workshop, beards and tattoos on a rock music background? Too bad. Vous vous attendiez à un énième film old-school, ambiance vieil atelier obscur, barbe et tatouages sur fond de musique rock ? Dommage. MAKING OF 4K : https://ift.tt/2Huirtp CREDITS : ANNONCEUR : DAB MOTORS (https://ift.tt/329n9V4 ) RESPONSABLE ANNONCEUR : SIMON DABADIE PRODUCTION CREATIVE : CAPSUS FILMS (https://ift.tt/Ye7L36 ) REALISATEUR : GUILHEM MACHENAUD ANIMATION GRAPHIQUE : NŌBL (https://www.nobl.tv/ ) Design & animation : William Trebutien, Maxime Maléo, Cyril Izarn, Julien Nantiec Compositing : Cyril Izarn & Julien Nantiec) ASSISTANTE MISE EN SCÈNE : SLAVICA DEPIKOLO DIRECTEUR DE PRODUCTION & REGISSEUR GENERAL : SIMON MEYER CHEF OPERATEUR : CESAR ABADIE ASSISTANT CAMERA : BAPTISTE CIBAT STYLISTE : FANNY MAILLARD PILOTE DE PRECISION : BAPTISTE FERNANDEZ MAKING OF : FLORIAN CUZACQ PRODUCTION SONORE : MARS OCTOBRE MUSIC (https://ift.tt/32bcXLT ) COMPOSITEUR : ALEXIS DEHIMI VFX : ARNAUD ORTMANN ÉTALONNAGE : TRISTAN BARATHE PACKSHOT 3D : ALEXEY AFANASYEV ATTACHÉE DE PRESSE : ANIK LABREIGNE SOUTIEN TECHNIQUE : CIRCUIT PAU-ARNOS CREAV COMMUNICATION MARCO EPTING OTIDEA PIERRE JAYET VELODROME DE TARBES OLIVIER DUBOCAGE MANUEL COUTANT PARTICIPANTS : STEPHAN VILAUÈQUE ANTHONY MICHEAU ERIC ROUGÉ & SON CHIEN "BELTZ" MANON LANZA ERIC DARGENT KARL PARTRIDGE CHARLES & PHILIPPE ARRAMON-TUCOO KENZA SERRA OLIVIER CABANE JULIEN NEHLIG ARMAND NEHLIG COLIN DORIAN ALEXIS LEGER KEVIN LESTERLOU ADRIEN & ROBIN FORGUES JORDAN PLANTE BASTIEN MONTÉS CHARLOTTE DREYER LUCAS MAHIAS BERNARD CARATELLI JULIEN ANDRO ANAÏS GOULLON GUILLAUME LÉVÊQUE CHRISTOPHE MALÈS ANTHONY REAL MICHAEL SAJOUX Plus d'infos sur www.capsusfilms.com et sur www.dabmotors.com

[olivierdemangeon]

    Un horticulteur et ancien militaire ayant participé à la guerre de Corée, âgé de 90 ans, transporte régulièrement de la cocaïne jusque dans l’Illinois pour un cartel de drogue mexicain.

    Origine du film : États-Unis Réalisateur : Clint Eastwood Scénariste : Nick Schenk Acteurs : Clint Eastwood, Bradley Cooper, Laurence Fishburne, Michael Peña, Dianne Wiest, Andy Garcia, Alison Eastwood, Taissa Farmiga, Clifton Collins Jr., Victor Rasuk, Ignacio Serricchio Musique : Arturo Sandoval Genre : Crime, Drame, Thriller Durée : 116 minutes Date de sortie : 23 janvier 2019 (France) Année de production : 2018 Sociétés de production : Imperative Entertainment, Bron Creative, Malpaso Productions Distribué par : Warner Bros. Pictures Titre français : La Mule Notre note : ★★★★☆

    “The Mule” ou “La Mule” pour la distribution française, est un thriller dramatique américain datant de 2018, produit et réalisé par Clint Eastwood, à qui l’on doit également “American Sniper” (2014). Les acteurs principaux sont Clint Eastwood, qu’on a pu voir dans “Magnum Force” (1973), Bradley Cooper, qu’on a pu voir dans “A Star Is Born” (2018), Laurence Fishburne, qu’on a pu voir dans “John Wick: Chapter 2” (2017), Michael Peña, qu’on a pu voir dans “12 Strong” (2018), Dianne Wiest, qu’on a pu voir dans “The Odd Life of Timothy Green” (2012), et Andy García, qu’on a pu voir dans “Geostorm” (2017). Le scénario, signé Nick Schenk, est basé sur un article du New York Times “Le mule de 90 ans du cartel Sinaloa” de Sam Dolnick, qui raconte l’histoire vraie de Leo Sharp, un ancien combattant de la Seconde Guerre mondiale, qui fut un transporteur de drogue pour le cartel mexicain.

L’histoire proposée par “The Mule” nous invite à suivre Earl Stone (Clint Eastwood), un horticulteur et un ancien combattant de la guerre de Corée, âgé de 90 ans, qui se retrouve ruiné financièrement et rejeté par une partie de sa famille. En manque d’argent, il devient une “mule”, transportant de la cocaïne à travers l’Illinois, pour un cartel mexicain. N’éveillant en rien les suspicions en raison de son âge, de sa race, de ses antécédents criminels sans faille et du strict respect du code de la route, Earl se voit rapidement confier de grosses quantités de drogue, tout en percevant un “salaire” de plus en plus important. Dans le même temps, des agents de la DEA, pilotés par l’agent spécial Colin Bates (Bradley Cooper) et son collègue Trevino (Michael Peña), se rapprochent de plus en plus d’un passeur en charge de transporter de grosses quantités de drogue, connu sous le pseudonyme de Thatha (grand-père)…

“The Mule” c’est avant tout un drame. L’échec d’une vie à l’américaine. Une grosse fissure dans ce que l’on appelait autrefois le rêve américain. Earl Stone est un homme qui a travaillé toute sa vie afin de subvenir, comme il pouvait, aux besoins de sa famille. Sa passion pour les fleurs l’a conduit sur la route de manière perpétuelle, de congrès en concours, fréquentant plus souvent ses camarades horticulteurs, plutôt qu’assister aux moments familiaux importants. Ce manque de présence l’aura éloigné de son épouse, Mary (Dianne Wiest) mais également de sa fille, Iris (Alison Eastwood). Earl a manqué le virage informatique et internet de sa profession et se retrouve sur la paille, avec bien peu de ressources, en raison du modèle sociale américain particulier.

“The Mule” c’est également une histoire criminelle. Earl se transforme en “mule” pour transporter de la drogue. Bien qu’il soit surpris lorsqu’il découvre ce qu’il transporte, l’argent facile et les facilités que cela lui procure ont vite fait de faire disparaître les éventuelles réticences qu’il pouvait avoir. Il a pleinement conscience de ce qu’il est, et qu’il n’éveille en rien la suspicion en raison de son grand âge et de son attitude débonnaire. Le réalisateur, Clint Eastwood, montre, à plusieurs reprises (comme par exemple la scène où le personnage principal vient en aide à des afro-américains sur le bord de la route) qu’Earl Stone est quelque peu anachronique, en décalage avec son temps, avec son époque.

Il y a une dose d’humour plutôt agréable dans “The Mule”. Celle-ci est construite autour du personnage incarné avec malice par Clint Eastwood. Cela se manifeste essentiellement dans son rapport aux autres, à travers des réflexions. Les dialogues sont donc particulièrement plaisants et drôles par endroit. Il y a également une belle charge émotionnelle, notamment dans la dernière partie, dans les échanges entre Earl et son ex-épouse. Le récit est fluide, le rythme est très agréable, et les 116 minutes coulent sans que l’on s’en rende compte. La photographie proposée par Yves Bélanger, qui avait déjà précédemment œuvré sur “Shut In” (2016), offre quelques somptueux visuels. Le tournage s’est déroulé dans l’état de Géorgie durant le mois de juin 2018.

Bien que la distribution de “The Mule” soit impressionnante, Bradley Cooper, Laurence Fishburne, Michael Peña et Andy García ne disposent finalement que de rôles secondaires. Il en est de même pour Taissa Farmiga, qu’on avait bien apprécié dans “The Nun” (2018). Le focus est singulièrement placé sur le personnage interprété par Clint Eastwood. L’acteur, aujourd’hui âgé de 88 ans, incarne merveilleusement bien ce personnage qui ne se laisse pas facilement impressionner. Une sorte de chant du cygne joué avec beaucoup de finesse et d’espièglerie. Une mention spéciale a Dianne Wiest, dans son rôle d’ex-épouse, qui saura probablement vous tirer une petite larme dans le dernier segment du métrage.

En conclusion, “The Mule” est un très bon thriller dramatique disposant d’une histoire captivante, d’une intrigue rationnelle et d’un développement soigné et malicieux. Le rythme est plaisant, le récit est fluide et cohérent, la photographie est agréable et la bande originale est amusante. Les personnages sont attachants et la distribution offre de très bonnes prestations, cependant dominée par la performance de Clint Eastwood, qui s’avère séduisante et touchante. Un film simple, tout en maîtrise, qui saura charmer les fans de la star…

    THE MULE (2018) ★★★★☆ Un horticulteur et ancien militaire ayant participé à la guerre de Corée, âgé de 90 ans, transporte régulièrement de la cocaïne jusque dans l’Illinois pour un cartel de drogue mexicain.

[megashabz]

Angel «The Dream Machine» from St Louis on Vimeo.

Production : Can Director : Baillie Walsh DOP : Philippe Lesourd Supervisor VFX : James Senade, Sylvery Bolote Post-Producer : Bastien Harispe Editor : Mario Battistel Grader : Bertrand Duval Flame Artist : James Senade, Benjamin Laborde 3D Artist : Sylvery Bolotte, Geoffrey Pons, Thomas Lefevre, Guillaume Gaussuron 2D Artist : Sylvery Bolotte, Damien Peiro, Elodie Latapie, Barthélémy Robino Matt Painting : Stéphanie Dargent

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Microbe et Gasoil

Production2015 - Michel Gondry

GenreComédie, Famille, Aventure

Distribution : Ange Dargent, Théophile Baquet, Audrey Tautou, Laurent Poitrenaux, Diane Besnier

Résumé : Les aventures débridées de deux ados un peu à la marge : le petit "Microbe" et l'inventif "Gasoil". Alors que les grandes vacances approchent, les deux amis n'ont aucune envie de passer deux mois avec leur famille. Ils décident donc de fabriquer leur propre "voiture" et de partir à l'aventure...

Cet article Microbe et Gasoil est apparu en premier sur .

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