The gently sloping summer, Recherchez Hortense and Place publique are online, and France 3 will broadcast a new documentary on “the most endearing grumpy man in French cinema” this week.
January 18, it will already be a year since Jean-Pierre Bacri has disappeared. France Télévisions pays tribute to this popular actor by offering a documentary on Friday evening entitled Bacri, like a family resemblance (already visible on Molotov.tv). This will be followed by Good intentions, a film also unpublished in clear, which is carried by his former companion, Agnès Jaoui. On the France.TV site, three feature films ported by Bacri are offered : Summer on a gentle slope, by Gérard Krawczyk (1987), Look for Hortense, by Pascal Bonitzer (2002) et Public place, by Agnès Jaoui (2018), preceded by this message: “Always on the edge of nerves, but without stopping touching in the break that he shows in each of his roles: Jean-Pierre Bacri left us a year ago. Homage in a few films.” Here are the details.
He was the most endearing curmudgeon in French cinema. ❤️
– france.tv (@francetv) January 13, 2022
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The story of Summer on a gentle slope : Fane is tired of hearing his neighbor upstairs “beat up” his companion every night. One evening, he goes up and down with Lilac whom he begins to love. Fane then learns of the death of his mother who had a small house wedged between two garages. Fane, Lilas and Mo, Fane’s brother, who had suffered from brain surgery, are moving into the house. They will try to be happy there despite a hostile village and a too hot summer.
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The story of Look for Hortense : Damien, professor of Chinese civilization, lives with his wife, Iva, a theater director, and their son Noah. Their love affair got bogged down in a routine marked by weariness. To prevent a certain Zorica from being expelled, Damien finds himself trapped one day by Iva, who summons him to ask for the help of his father, a councilor of state, with whom he has a more than distant relationship. This hazardous mission plunges Damien into a spiral that will turn his life upside down.
Criticism of First : This trendy subject is a pretext for a tragicomedy on human relationships. From the first minutes – an unconvincing love exchange between two actors on stage – we know that it will be a question of feeling in all its forms. And that deceptive appearances will be at the center of this sixth feature film from the director of Rien sur Robert. “I have simple relationships with no one, and especially not with my father …” This replica seems tailor-made for Jean-Pierre Bacri, who seizes it with delight. How he takes on the role of Damien, a man without qualities, an ordinary husband, undoubtedly a good teacher (of Chinese civilization), who wakes up alongside a stranger keen on his work on … the smile! Around him, from Claude Rich to Isabelle Carré, the actors are feasting. Under an intellectual and talkative exterior, Look for Hortense hides, like its characters, a delightful treasure hunt.
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The story of Public place : Castro, once a star of the small screen, is now a host on the decline. Today his driver, Manu, drives him to the housewarming party of his producer and longtime friend, Nathalie, who has moved into a beautiful house near Paris. Hélène, Nathalie’s sister and Castro’s ex-wife, is also invited.
Criticism of First : They say it themselves: each of their films is a variation on the theme of the right of the strongest. And according to Agnès Jaoui and Jean-Pierre Bacri, after years of unequal struggle marked by triumphant liberalism, it was the cynics who won out over the humanists. To my right, Bacri as an old TV host who clings to his post; on my left, Jaoui as a respectable third-world lobbyist at the end of his penny (ffle). As usual, the duo have given themselves violently antagonistic but complementary roles. Exes (like them in life) confronted with the filthy writings of their novelist daughter whose story does not say whether she is fundamentally ungrateful or simply opportunistic – a bit of both, surely, people are gray at JaBac. This pretty world meets at a party organized in his country house by the producer (Léa Drucker) de Castro (Bacri), which gives the opportunity to our acerbic columnists to put in the same bag pedantic Parisian and vindictive provincial , wanker youtubers and undrinkable TV stars. They do it with an obvious gluttony, and even with a ferocity that recalls the heyday of Italian comedy, as evidenced by the outcome, of perfect amorality. This is what makes the difference in fine Public place the nicest man Sense of celebration to which he will not fail to be compared because of Bacri and the unity of place and time at work in the two films.
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