Cinema releases on November 17: our opinion on the new films

What are the cinema releases for the week of November 17? Blood Oranges, Lovers, The Magnetic, Hungry

Every week, Large Screen does its market in movie theaters, and selects a few must-see releases and films (for good or bad reasons).

With a nasty comedy, a piece of rap in Casablanca, a first magnetic feature film, Apichatpong Weerasethakul’s latest film, a horror film that has fangs, a dangerous love triangle, Sandrine Kiberlain’s neighbor, a villain bad trip to Thailand and an old-fashioned spaghetti western.

What’s new on Netflix from November 12 to 18

We make ourselves comfortable for the next session


Blood oranges

Duration 1h42

What is it about : A thief economy minister. a sinister rapist. A well-bred boar. Two over-indebted retirees. A virgin not really frightened. A consultant on the verge of explosion. A competition of dance that goes wrong. Welcome in France !

Why you have to see it : Because it’s probably the most amazing, free and rabid film produced in France for a long time. New creation of the Dogs of Navarre, theater troupe with improvised deliriums often tinged with genius who tries himself here for the second time at the cinema after Apnea, Blood oranges set the Croisette on fire, thanks to a midnight screening that stuck in the throats of the most delicate spectators.

It must be said that with his nagging humor, which shoots absolutely everyone to spare no one, until it turns into a supercharged horror film, the experience has enough to leave the spectator on his knees. In the manner ofa huge torgnole that would suddenly cause a saving blood flow, the cast of the footage, made up of both the theatrical troupe and surprising guests, engages in a number brilliantly captured by the camera. Indeed, the film is one of the very rare opportunities to see a furious improvisation exercise take control of the cutting, to the point of renewing the usual program of French comedy.

The Large Screen rating: 4.5 / 5

High and loud

Duration 1h42

What is it about : A former rapper starts his new job in a cultural center in a popular district of Casablanca. There, he will encourage the youth to let go and free themselves from the weight of Moroccan (and Muslim in extenso) traditions through the culture of music and hip-hop.

Why you have to see it : Because High and loud is a film that feels good. Directed by Nabil Ayouch, already behind the surprising Much Loved in 2015, the feature film presented at the last Cannes Film Festival is an ode to freedom. Endowed with a certain sense of tempo with his young rappers and musicians, the film is rather catchy in its way of describing art and culture as means of liberation and emancipation.

Still, the film is never very original. After all, filming art as the most saving means of expression against conservatism of all kinds has become such a habit that High and loud does not add much. So when, in addition, it regularly lacks rhythm, for a film about music (and dance too), it’s a bit of a shame.

The Large Screen rating: 3/5


Duration 1h38

What is it about : 1981, François Mitterrand is newly elected. Pirate radios explode. For two brothers, this will be the occasionn to reveal oneself, to confront each other, and perhaps to symbolize the confrontations and treacheries of a generation.

Why you have to see it : We can no longer count the films that will no longer revisit the “golden age” of the coming to power of the sixty-eighters, or sell us the figure of the amorous trio as a pinnacle of subversive romanticism. That’s why when we see landing Magnetics, there is something to be wary of. And yet no, Vincent Maël Cardona’s feature film overcomes all these pitfalls.

True story of a huge generational failure, which saw the self-proclaimed proponents of progress go astray, saw the branch on which they were sitting, until they became precisely what they had fought. A cruel historical observation, while the relationship of birth between the heroes ends up being reversed. All cradled in an ultra-sensual staging, which gives music and sounds a carnal role of rare power.

The Large Screen rating: 3.5 / 5


Duration 2h16

What is it about : Jessica Holland suddenly wakes up one morning after hearing a huge bang. Her thoughts preventing her from regaining sleep and this bang resurfacing in spurts in her daily life, she will travel around Bogota to find the origin of this noise.

Why you have to see it : Because Apichatpong Weerasethakul is undeniably one of the most intriguing filmmakers in the world. Eleven years after winning the Palme d’Or for Uncle Boonmee the one who remembers his past lives, the Thai director made his comeback in competition at the Cannes Film Festival with Memoria, earning him a Jury Prize. And it must be said that his work is probably one of the most fascinating of recent years.

Obviously, you have to get used to the style of Weerasethakul, ultra-contemplative, ultra-slow and very sensory. In fact, Tilda Swinton’s sonic peregrinations will get the better of the attention of many spectators whose bang will not prevent sleep (on the contrary). But behind this apparent softness, Memoria hides a metaphysical quest that transcends the boundaries of time and reality. What offer a bewitching journey to anyone who will let themselves be carried away by the story and certain absolutely hypnotizing scenes (a reconstruction of the magnetic bang).

The Large Screen rating: 3.5 / 5


Duration 1h39

What is it about : In a small mining town in Oregon, a schoolboy suffers violence that borders on the supernatural. A schoolteacher and a police officer will investigate his case.

Why you have to see it : Hungry is one of the great Arles women of the pandemic. Expected in April 2020 (!), Then pushed back to the horizon of health uncertainty, he finally arrives in France, where he is still fantasized by armies of film buffs. An impatience that will not do that good to a feature film more humble than expected. After a passage through the classic western (Hostiles) memorable, the former actor and talented filmmaker Scott Cooper reappropriates the codes of the monster film without upsetting them.

A bias in fact evident from the rest of his filmography, but necessarily a source of disappointment for many spectators who relied on the particular context of the feature film (it takes place in a disaster area, where unemployment is wreaking havoc) for make it a new horror classic. The screenplay co-written with Nick Antosca and Henry Chaisson avoids over-explaining its metaphor and mostly focuses on its latent darkness. And it is not worse.

The Large Screen rating: 3/5



Duration 1h42

What is it about : From Lisa and Simon, a young, close-knit couple who spins the perfect love until an evening that turns badly and risks sending Simon behind bars. To avoid prison, he leaves France, leaving Lisa without news. Three years later, the two meet by chance in the Indian Ocean, but Lisa is now married to a wealthy businessman.

Why it can be nice : Because Pierre Niney – who has become a key player in the French landscape – is very comfortable with the dramatic register and because Simon, his new character broken in Lovers, should allow him to once again put forward your emotional game and on edge which seems to resonate with his role in An ideal man by Yann Gozlan.

This love triangle that promises to turn into a black thriller is also an opportunity to find the French filmmaker Nicole Garcia, who recently played in the series Lupine and UFO (s), but was not shown behind the camera since the drama Stone sickness from 2016.

The expected rating of Large Screen: a 3/5, that would not be bad

We are made for each other

Duration 1h33

What is it about : Antoine, a somewhat unmanageable man who does not listen to anything or anyone (especially because he has a real hearing problem), and Claire, who settles next to him. She seeks some peace, and he is unable to understand how noisy he is on a daily basis. Between the two, it will be explosive, but obviously romantic.

Why it can be nice : Because Sandrine Kiberlain already, who has established herself as one of the most explosive comic actresses in the French landscape, whether at Serge Bozon, Albert Dupontel or Bruno Podalydès. For his third film as a director, after Turkish head and I count on you, Pascal Elbé has therefore found a golden partner, capable of illuminating the simplest scenarios.

The basic pitch of We are made for each other sniffs the Sunday evening slot on TF1, and the cast of supporting roles (François Berléand, Emmanuelle Devos, Valérie Donzelli, Marthe Villalonga) looks like a before of the César party, but who knows, no one is there. shelter of a (small) good surprise. Like the charming A little, a lot, blindly, by and with Clovis Cornillac, who already told a story of neighbors, noise and love.

The expected rating of Large Screen: 3/5


Duration 1h38

What is it about : Maria Bodin and her son Christian pay for a vacation: destination Thailand. Here is.

Why we can’t wait to see him : Because we must confess a certain morbid curiosity for the very fat French comedies and the promotional material of the cinematographic adventure of the famous duo of comedians suggests a great vintage. The trailer already shows a record rate of muddy jokes, attested by the greatest specialists, and the few clips unveiled have added another layer of lard on the pate.

With the added bonus of the obligatory touch of exoticism – inspired by pub club med – dear to the genre, this subtle antics may well panic the counters of the hexagonal box office. While you taste as much as we or not at the thing, potentially less self-centered than the parades of usual television faces, you will inevitably see it on the bill of your local multiplex. And then it will be necessary to resist the temptation.

The rating predicted by Widescreen: 1 or 5/5, depending.



Duration 1h32

What is it about : A mysterious cowboy arrives in town, pulling a coffin. When he saves a young woman, he finds himself in the midst of a spiral of violence.

Why you have to see it or see it again : Sergio Leone’s westerns are now wildly popular and inspire immeasurable respect. But we should not forget that the spaghetti western also owes its success to one of its most fascinating authors, Sergio Corbucci, and more particularly to his Django, true cultural phenomenon whose title has been taken up by dozens of imitators, official or not.

Photo Franco NeroFranco Nero in Django

In turn, he revolutionizes the genre by making it dirty. The fascination with the emptiness of large spaces and their symbolic significance gives way to endless cycles of violence. If the American-style western asks: “How is man organized on the borders of a civilization that he himself delimits, arbitrarily?”, Corbucci and his disciples answer: “They are killing each other”. A rather enjoyable massacre, cut for lovers of mysterious pistoleros and to contemplate in the famous copy distributed by Carlotta, also available in video.

The Large Screen rating: 4/5

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Cinema releases on November 17: our opinion on the new films