As Bestas, Dédales, La Petite Bande… the new cinema releases of July 20


As Bestas, Dédales, La Petite Bande… what are the cinema releases for the week of July 20, 2022?

Every week, Largescreen hits theaters and selects a few must-see releases and movies (for good or bad reasons). With the flamboyant return of Rodrigo Sorogoyen, a monastery affair, mini-greens and the return of Mike Nichols to theaters.

The winning duo


Duration: 2h17< /p>

What's this about: Antoine and Olga left France to settle in a small valley in Galicia, their dream of running a small organic farm while renovating houses to revitalize the region is taking shape. But their good intentions will lead to a radical conflict with their neighbors.

Why you have to see it: Because each new Rodrigo creation Sorogoyen is a more intense slap than the previous one. Discovered in France with Que Dios nos perdone barely five years ago, the Spanish prodigy has since married tragedy as much to film noir as to political thriller. After the Antidisturbios mini-series, where he let the question of police violence as well as the treatment of civil servants by the institutions explode, he once again embraced a subject whose apparent banality allows him to raise the veil over the fractures of the world around it.

Here, a banal neighborhood conflict reveals the opposing and then irreconcilable philosophies of individuals fighting for their values, without understanding that they will push them to the frontiers of humanity. Without judging his anti-heroes, but looking at their motives, their demons and their impulseswith impressive intelligence, the director wraps up an unpredictable, stormy narrative, brimming with staging ideas of rare power. A film of suspense, condensed psychological horror, investigation and then moving melodrama, As Bestas is one of the most powerful propositions of European cinema in recent memory.

Widescreen rating: 4/5


Duration: 1h58

What it's about: A 19-year-old novice secretly leaves her monastery to settle an urgent matter in town. The same evening, on the way home, an attack changes his destiny. Marius, police inspector, is in charge of the investigation.

Why you have to see it: Because Dédales< /strong> is one of the most powerful thrillers of 2022. Cut into around forty sequence shots, the film directed by Bogdan George Apetri manages to take the viewer on a descend into hell in near real time of a mind-boggling tension, without ever being in the show of force.

The camera becomes one with its characters, even if it means sometimes thwarting some codes of the thriller, in particular by delaying the aggression pivot of its heroine and by defusing the slightest mystery linked to the investigation of the policeman, in particular by placing the spectator as a witness to the crime. Bogdan George Apetri ignores the mechanics of the genre in order to better focus his attention on the distress of his heroine and the obsession of the investigator.

The result is a tense, sensitive thriller that ends with a magical bifurcation on the border of fantasy, sadness and overwhelming bitterness.

< p style="text-align: justify;">Widescreen score: 4/5

La Petite Bande

Duration: 1h48

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What's this about: A group of 12-year-old children decides to unite and develop a plan to blow up the factory in their small town, which has been polluting the river for years, without anyone acting. The plan was almost perfect, since they soon find themselves with the kidnapping of the boss to deal with.

Why you have to see it: Pierre Salvadori is a little national treasure. Since Les Apprentis in 1995, he has regularly proven his ability to create and find magic in everyday life, simply thanks to quirky characters, and their somewhat unusual dreams. After Freedom!, probably one of his finest films, he returns with La Petite Bande, sort of Green Button War, where he abandons the adults to focus on a bunch of kids lost in their illusions.

In the best moments (i.e. at the beginning of the film), Pierre Salvadori recounts this Little Band with humor and tenderness, and above all an astonishing little madness. Helped by the talent of his young actors (especially Paul Belhoste, Colombe Schmidt and Redwan Sellam), he embarks on an incredible adventure, where everything seems possible for these little angry and fragile faces.

In the less successful ones (especially towards the end), the director seems trapped by his script,which obliges all these little people to face reality, even if it means breaking the spell when the time comes to explain the motivations, and manage this joyful chaos. The very end, where Salvadori tries to combine fantasy and reality, is the ultimate demonstration of this. Too bad.

Widescreen rating: 2.5/5


Released: 1973 – Duration: 1h45

What's that speak: While on the verge of finding a way to communicate with dolphins, a biologist doesn't suspect his discovery could be hijacked for other purposes.

Why you have to (re)watch it: Because this Day of the Dolphin is clearly a UFO movie, directed by Mike Nichols. Adaptation of the book An animal endowed with reasonby Robert Merle, the feature film has been completely forgotten since its cinema release in 1973, and yet it is difficult not to find a real panache in it. Going from quasi-animal documentary in its first part to paranoid spy thriller in its second, The Day of the Dolphin has, something of the delirium dwarf and the great misunderstood film at the same time .

Because obviously, seeing George C. Scott type the discussion with his dolphin can seem totally ridiculous at first sight. However, over the minutes, the feature film reveals its rather visionary ecological reflection on the disastrous impact of man on nature. And even better, the father-son relationship between the man and the dolphin becomes particularly moving, until a quite moving ending for anyone who has let themselves be carried away by their incredible adventure.

< p style="text-align: justify;">Widescreen rating: 3.5/5

this so-called carnal pleasure

Released: 1972 – Duration: 1h38

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What it's about: The sentimental lives of two completely opposite friends, Sandy and Jonathan, over twenty years between love quest, sexual confessions and visions of women.

Why you have to (re)watch it: Well, and then, for those who don't want to fade this trip of anticipation, another film by Mike Nichols also comes out in the cinema: This so-called carnal pleasure. Made in 1971, when the filmmaker was struggling to convince after the enormous success of Who's Afraid of Virginia Woolf? and The Winner, the feature film is a marvel of dialogue thanks to Sandy and Jonathan embodied by the excellent Art Garfunkel and especially the imperial Jack Nicholson.

With an extremely cynical humor, the feature film opens the doors of funny and provocative cinema, especially because of the character of Jonathan. Jack Nicholson indeed plays a macho Don Juan, despising women on a level of stratospheric political incorrectness (all the more so 50 years later), whose the film skilfully denounces hypocrisy (even if the narrative takes an almost exclusively male look).

And if it shows almost nothing sexual, the film is on the other hand very raw in its way of discussing the sexuality, which caused quite a scandal at the time of its release. The film had even been censored in the state of Georgia and the director of the cinema that broadcast it sentenced for “distribution of obscene material”, before the justice reversed this decision. With only 1h38 on the clock, the film certainly lacks rhythm, especially in its second part, but is worth a detour.

Widescreen score: 3, 5/5


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