{"accessibility":"METERED","authors":[{"description":{},"email":"gbouchard@lesoleil.com","imageUrl":"https://images.omerlocdn.com/resize?url=https%3A%2F%2Fgcm-v2.omerlocdn.com%2Fproduction%2Fglobal%2Ffiles%2Fimage%2F5d68d2c8-8241-49e2-8f97-ea43e9ffae22.png&width=1024&type=jpeg&stripmeta=true","location":"","name":"Geneviève Bouchard","source":"Le Soleil","twitter":"GenBouchard"}],"channel":"Cinéma","chapters":[{"position":0,"text":"

Rodéo, Joëlle Desjardins Paquette

Il y a quelque chose d’à la fois rude et majestueux dans Rodéo, premier long métrage de Joëlle Desjardins Paquette. Au son de la musique métal et dans le bruit des moteurs, la cinéaste nous plonge dans la relation fusionnelle, mais de plus en plus fragile, entre un père camionneur et sa fille de neuf ans, dans un contexte d’enlèvement parental.

Dans une sorte de road trip de la dernière chance, Maxime Le Flaguais et Lilou Roy-Lanouette incarnent avec une immense justesse un duo à la fois brut et beau.

Offert au cinéma.

","type":"paragraph","contents":[],"photos":[]},{"html":"","position":1,"type":"html","contents":[],"photos":[]},{"position":2,"text":"

La cabane isolée, M. Night Shyamalan

Au fil d’une carrière qui a connu des hauts et des bas, M. Night Shyamalan a mérité les titres d’expert du suspense et de maître du revirement. Son nouveau film, La cabane isolée, n’offre peut-être pas le coup d’éclat final de ses plus grands succès, dont Le sixième sens, qui l’a propulsé en 1999. Mais il table sur un dilemme captivant sur fond de Jugement dernier.

Dans un chalet au milieu des bois, deux hommes et leur fille voient leur paisible séjour interrompu par l'arrivée de quatre inconnus qui les prennent en otage. Prétendant avoir eu des visions prédisant la fin du monde, les ravisseurs placent leurs captifs devant un choix : ils doivent sacrifier l'un des leurs ou voir l'humanité confrontée à son extinction.

Offert au cinéma.

","type":"paragraph","contents":[],"photos":[]},{"contentType":"jw","monetizationEnabled":true,"position":3,"thumbnailUrl":"https://cdn.jwplayer.com/thumbs/cZ6AvtVh-1280.jpg","type":"video","url":"https://cdn.jwplayer.com/manifests/cZ6AvtVh.m3u8","videoUrl":"https://cdn.jwplayer.com/manifests/cZ6AvtVh.m3u8","contents":[],"photos":[]},{"position":4,"text":"

Respire, Onur Karaman

Quatrième long métrage du cinéaste Onur Karaman, Respire dépeint la question des disparités sociales avec beaucoup de nuances, d’intelligence et de sensibilité. Portée par une distribution sans faille, la double histoire qu’il y est racontée résonne comme un coup de semonce dans une époque qui en a bien besoin.

Découpé d’une manière à nous faire ressentir une tension certaine, le film place en parallèle le quotidien de deux jeunes hommes qui semblent différents, mais dont les horizons ne le se sont pas tant : un ado immigrant et un Québécois de souche.

Offert au cinéma.

","type":"paragraph","contents":[],"photos":[]},{"html":"","position":5,"type":"html","contents":[],"photos":[]},{"position":6,"text":"

Débordement, Brandon Cronenberg

Avec son troisième long métrage, Débordement, Brandon Cronenberg flirte avec la science-fiction pour confronter le cinéphile à des questions troublantes sur l’identité, l’autodestruction, le privilège et la responsabilité. Un voyage haletant et surprenant attend ceux et celles qui en acceptent la prémisse.

En vacances dans un tout inclus avec sa femme sur une île isolée, un écrivain voit son univers basculer après avoir causé la mort d'un paysan.

Lui-même condamné sur le champ à payer de sa vie, il verra vite qu'une solution de rechange s'offre aux étrangers fortunés. Il en subira les conséquences dans une suite surréaliste de débauche et d'angoisse.

Offert au cinéma.

","type":"paragraph","contents":[],"photos":[]},{"contentType":"jw","monetizationEnabled":true,"position":7,"thumbnailUrl":"https://cdn.jwplayer.com/thumbs/rtaRnhDD-1280.jpg","type":"video","url":"https://cdn.jwplayer.com/manifests/rtaRnhDD.m3u8","videoUrl":"https://cdn.jwplayer.com/manifests/rtaRnhDD.m3u8","contents":[],"photos":[]},{"position":8,"text":"

Vivre, Oliver Hermanus

Avec Vivre, le Sud-Africain Oliver Hermanus transpose dans l’Angleterre d’après-guerre les questions existentielles posées dans le film japonais Ikiru, arrivé sur les écrans en 1952.

Nommé aux Oscars dans la catégorie du meilleur acteur, Bill Nighy impressionne dans le rôle d’un bureaucrate confronté à sa propre mort, réalisant du même coup qu’il n’a pas vraiment vécu.

Offert au cinéma.

","type":"paragraph","contents":[],"photos":[]},{"contentType":"jw","monetizationEnabled":true,"position":9,"thumbnailUrl":"https://cdn.jwplayer.com/thumbs/n6hivzeA-1280.jpg","type":"video","url":"https://cdn.jwplayer.com/manifests/n6hivzeA.m3u8","videoUrl":"https://cdn.jwplayer.com/manifests/n6hivzeA.m3u8","contents":[],"photos":[]},{"position":10,"text":"

Mistral spatial, Marc-Antoine Lemire

Entre peine d’amour et présence extraterrestre, le cinéaste Marc Antoine Lemire nous plonge au son du thérémine dans un univers créatif libre et réjouissant à souhait dans Mistral spatial, son premier long métrage.

Produit avec un petit budget et beaucoup d’ingéniosité, ce film n’essaie pas de suivre une recette ni d’entrer dans un moule.

Il se démarque plutôt par la latitude que s’est accordée son idéateur, qui raconte son histoire en trois chapitres visuellement tranchés.

Offert au cinéma.

","type":"paragraph","contents":[],"photos":[]},{"contentType":"jw","monetizationEnabled":true,"position":11,"thumbnailUrl":"https://cdn.jwplayer.com/thumbs/6rTrY8AB-1280.jpg","type":"video","url":"https://cdn.jwplayer.com/manifests/6rTrY8AB.m3u8","videoUrl":"https://cdn.jwplayer.com/manifests/6rTrY8AB.m3u8","contents":[],"photos":[]},{"position":12,"text":"

L'origine du mal, Sébastien Marnier

Avec L’origine du mal, le Français Sébastien Marnier signe une proposition baroque et inclassable, à la jonction du suspense, du drame familial et de la comédie noire. En plus de révéler la talentueuse Laure Calamy sous un jour nouveau, le film offre à la Québécoise Suzanne Clément un solide et très physique défi d’actrice.

Par des dialogues incisifs, des personnages complexes et des plans étudiés, Marnier cultive également une sorte d’angoisse teintée d’humour et de sensualité.

Le tout est porté d’habile manière par une distribution sans faille et appuyé par une trame sonore orchestrale signée par les Québécois Pierre Lapointe et Philippe Brault.

Offert au cinéma

","type":"paragraph","contents":[],"photos":[]},{"contentType":"jw","monetizationEnabled":true,"position":13,"thumbnailUrl":"https://cdn.jwplayer.com/thumbs/bxWXdxoq-1280.jpg","type":"video","url":"https://cdn.jwplayer.com/manifests/bxWXdxoq.m3u8","videoUrl":"https://cdn.jwplayer.com/manifests/bxWXdxoq.m3u8","contents":[],"photos":[]},{"position":14,"text":"

La baleine, Darren Aronofsky

La baleine, de Darren Aronofsky, marque un retour au grand écran pour l’acteur Brendan Fraser, physiquement métamorphosé. Sa performance dans un rôle pathétique jusqu’à la limite du tolérable, nous arrive entourée d’un parfum d’Oscar.

Le comédien, qui tenait le haut de l’affiche comme jeune premier dans les années 1990 et 2000, porte ce film difficile, exposant un homme souffrant d'obésité morbide dans toute sa misère.

Le cinéaste Darren Aronofsky n’est pas étranger au malaise. Il l’a cultivé dans des films marquants comme Requiem for a Dream ou Le cygne noir.

Dans La baleine, il inspire le dégoût et la honte avec un angle qui frôle la cruauté.

Offert au cinéma.

","type":"paragraph","contents":[],"photos":[]},{"contentType":"jw","monetizationEnabled":true,"position":15,"thumbnailUrl":"https://cdn.jwplayer.com/thumbs/AySqEdAP-1280.jpg","type":"video","url":"https://cdn.jwplayer.com/manifests/AySqEdAP.m3u8","videoUrl":"https://cdn.jwplayer.com/manifests/AySqEdAP.m3u8","contents":[],"photos":[]},{"position":16,"text":"

23 décembre, Miryam Bouchard

Pas besoin de chercher bien loin pour voir que Noël et comédies romantiques font bon ménage au cinéma. Dans la pure tradition du genre, mais avec un regard plus actuel, la scénariste India Desjardins et la réalisatrice Miryam Bouchard ajoutent avec 23 décembre leur grain de sel à un buffet des Fêtes déjà fort bien garni.

On ne doit pas s’attendre à de grandes surprises en découvrant ce film choral qui connaît bien ses codes et qui les respecte à la lettre. L’heure est au sourire et au réconfort dans ce chassé-croisé embrassant des influences à la Réellement l’amour (Love Actually), le désormais classique de Richard Curtis.

Dans un registre connu et propulsé par une trame sonore entraînante, le film de Miryam Bouchard a l’intérêt d’arriver avec un point de vue et des références bien de chez nous.

Le scénario signé par India Desjardins s’efforce aussi de refléter la diversité de la société québécoise. Ça s’exprime dans le rapport aux traditions, aux origines, à la vision du couple ou de la famille, à l’orientation sexuelle, etc.

Offert en vidéo sur demande.

","type":"paragraph","contents":[],"photos":[]},{"html":"","position":17,"type":"html","contents":[],"photos":[]},{"position":18,"text":"

Les Fabelman, Steven Spielberg

Légende vivante d’Hollywood, Steven Spielberg braque sa lentille sur lui-même dans Les Fabelman, une fiction inspirée de ses propres débuts derrière la caméra. Sans détenir le caractère épique de certaines de ses œuvres, le film se décline comme une lettre d’amour au cinéma soulignant les dilemmes qui viennent avec des destinées artistiques.

Sans être strictement autobiographique, Les Fabelman nous présente un parcours semblant calqué sur celui du réalisateur oscarisé.

À travers ce qui ressemble à une petite leçon de cinéma, Spielberg raconte surtout l’histoire d’une famille aimante, même si elle ne se comprend pas toujours.

Offert au cinéma.

","type":"paragraph","contents":[],"photos":[]},{"contentType":"jw","monetizationEnabled":true,"position":19,"thumbnailUrl":"https://cdn.jwplayer.com/thumbs/ag5e7Z4e-1280.jpg","type":"video","url":"https://cdn.jwplayer.com/manifests/ag5e7Z4e.m3u8","videoUrl":"https://cdn.jwplayer.com/manifests/ag5e7Z4e.m3u8","contents":[],"photos":[]},{"position":20,"text":"

Chien blanc, Anaïs Barbeau-Lavalette

Adapté d’un roman de l’auteur français Romain Gary, qui s’est inspiré de sa propre expérience des tensions raciales aux États-Unis, le film Chien blanc de la Québécoise Anaïs Barbeau-Lavalette remet plusieurs questions en perspective à une époque où celles-ci sont encore malheureusement d’actualité.

Au lendemain de l’assassinat de Martin Luther King, une famille blanche recueille chez elle un chien abandonné qui se laisse apprivoiser par ses nouveaux maîtres. Ceux-ci se rendront néanmoins compte que la bête n’est pas douce envers tout le monde : elle a été dressée spécifiquement pour attaquer les Noirs.

Offert en vidéo sur demande.

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Nous partageons nos œuvres favorites au gré du temps, sur grand écran et sur toutes les plateformes.","locales":["fr"],"metadata":{},"modificationDate":"2023-02-03T20:05:13.566Z","publications":[{"canonical":false,"organizationKey":"lesoleil","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"lavoixdelest","sectionKey":"arts"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"lavoixdelest","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"lavoixdelest","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"arts"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"arts"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"arts"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"arts"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"arts"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"arts"},{"canonical":false,"organizationKey":"lavoixdelest","sectionKey":"arts"},{"canonical":false,"organizationKey":"latribune","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lavoixdelest","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"cinema"},{"canonical":false,"organizationKey":"latribune","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lavoixdelest","sectionKey":"cinema"},{"canonical":false,"organizationKey":"latribune","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"cinema"},{"canonical":false,"organizationKey":"latribune","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lavoixdelest","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lesoleil","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lequotidien","sectionKey":"cinema"},{"canonical":false,"organizationKey":"lenouvelliste","sectionKey":"cinema"},{"canonical":false,"organizationKey":"ledroit","sectionKey":"cinema"},{"canonical":false,"organizati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