guy-bellinger

Fiction, reality, personal life, and union struggles all intertwine during the complicated shoot of a politically committed film, whose director, nearing the end of his career, must manage to complete at all costs despite the co-production's withdrawal.

« Making Of », directed with a sure hand by the eclectic Cédric Kahn, is not the first example of « a film team filming a film team » at work, far from it, but it proves to be one of the best of the genre.

Among its (many) strengths are a very well-structured screenplay, a subtle narrative (which regularly rekindles the action when the repetition of situations could lead to weariness), a fruitful blend of objectivity and subjectivity, interesting reflections on cinema (by those who make it and on the expectations of those who watch it), social struggles and their fictional representation, as well as an outstanding cast ensemble.

Highly stimulating for the mind, "Making Of" proves even better (because less systematic) than its otherwise excellent predecessors, like Cukor's "A Double Life" or Cayatte's "The Lovers of Verona." Kahn indeed do not simply STATE that art mirrors life and the reverse, he makes us FEEL it. On more than one occasion indeed, the viewer doesn't know whether they're on the film set, within the film itself, in its making-of, in a dream, or in the past during the occupation of the closed factory by its laid-off workers. A little mental work is therefore required, which the lazy viewer will reject but which will delight those who appreciate a call to their intelligence.

Among an altogether perfect cast, playing complex characters, never descending into caricature (even when they verge on it), are to be mentioned Denis Podalydès as Simon, the harried director, Emmanuelle Bercot as the exasperated production manager, Xavier Beauvois as the less-than-reliable executive producer, Jonathan Coen in an atypical role as a star with an oversized ego (but not just that...), Stefan Crepon as a young, up-and-coming director, and Souheila Yacoub as a fledgling actress facing her first major part. Special mention goes to Valérie Donzelli in the supporting role of the director's ex-partner, whom she portrays with finesse.

It's worth noting that the DVD, while featuring a bonus interview with the director and actors, doesn't offer any... making-of! Too bad, the making-of of a film entitled "Making-of" where we see the aforementioned making-of being filmed-now that would have been fun!

Three girls in an apartment. One is waiting for a phone call from her boyfriend Grégory, who is returning the next day from Seville where he is on vacation. Time passes and he still doesn't call. The young woman wonders about the nature of her relationship, and the other two try to advise her. Over and over again considers, reconsiders all the possibilities: phoning Gregory herself? Right away? Later? Breaking up? Continuing a lame relationship? Her two friends try to helpbut can't do much.

And that's all there is to Sophie Letourneur's first short, "La tête dans le vide ". It is not really a bad film: as a slice of life, it rings true (a scene like this could very well happen exactly as it is presented here). Unfortunately the whole thing is only moderately interesting (we don't really care about the girl's sentimental problem) and only moderately funny (we just smile once or twice at the spectacle of these three girls desperately going round in circles, gorging themselves on junk food and drinking themselves senseless.)

The three young actresses play naturally, which is another good point but the film remains too superficial to leave a mark, let alone a deep mark. Of course, this is only a first opus: everybody has to get started! Since then Sophie Letourneur has achieved more elaborate, more profound (if always funny) works , notably "Chicks" (La vie au ranch) which, starting from a similar situation, examines the subject more thoroughly.

Jean-Pierre Mocky's (very) special tone is undeniable.

In the past, we loved his gritty, offbeat comedies as well as his anarchic film noirs, but over time Mocky increasingly botched his movies, to the point of becoming their own caricature. Between the ferocious "A mort l'arbitre" and the pitiful "Ville à vendre", there was a gulf that I thought would never be bridged by an ageing soft-headed Mocky.

When a friend lent me the DVD of "Rouges étaient les lilas", I have to admit, I was skeptical. But I was pleasantly surprised: this little whodunit with a well-crafted plot takes us, with just a touch of causticity, from the anecdotal to the tragic, worthy of the great film noirs. The situation, apparently simple at first (the neighbor upstairs is harassing the neighbor downstairs with a nightly racket), gradually unravels and leads to unpredictable events.

The setting is interesting (a building adjoining a cemetery, indicating the idea that death creeps viciously into life), and the colors clean and bold, characterizing each of the four main protagonists, are well-chosen. As for musician Vladimir Cosma, he proved clever enough to compose a score that didn't duplicate the film's mortifying atmosphere.

Also thanks to Mocky for casting four women in the lead roles. It's half as many as François Ozon's "Eight Women", but still! Alice Dufour skillfully portrays the young widow at odds with her evil neighbor, dressed all in red", the beautiful and arrogant Delphine Cadéac. Marianne Basler is a retired police inspector and Grace de Capitani is a picturesque, friendly concierge. They all interact very well

In the end, a very satisfying film that reconciled me with Mocky.