Myriam Boyer

Myriam Boyer

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Mesrine: Public Enemy No 1 Review


Excellent
Picking up where Killer Instinct left off, this second part of the biopic has a 1970s style, with grittier edges and darker violence. But it takes the same anecdotal approach, never quite letting us in.

In 1973, rampant criminal Jacques Mesrine (Cassel) has finally been captured by the cops but stages a daring courtroom escape with the help of his pal Charlie (Lanvin). He's soon back to his bank-robbing, executive-kidnapping ways, taunting the tenacious detective Broussard (Gourmet) even when he's arrested.

In prison he concocts an elaborate escape with fellow inmate Besse (Amalric), and the two go on another brazen crime-spree, meeting Mesrine's next wife Sylvie (Sagnier) along the way. But as Mesrine adopts the politics of Germany's Baader-Meinhof gang, the cops are closing in.

Continue reading: Mesrine: Public Enemy No 1 Review

Mesrine: Killer Instinct [L'Instinct de Mort] Review


OK
Edgy and rough, this is the first half of an energetic biopic about one of France's most notorious criminals. And with a riveting performance by Cassel at the centre, it's definitely worth seeing, even if it never really gets beneath the skin.

Jacques Mesrine (Cassel) is educated in brutality while serving as a soldier in Algeria. With his charismatic personality, he falls into a life of crime with the vicious mobster Guido (Depardieu). While fiercely protective of his Spanish wife Sofia (Anaya), he engages in nasty acts of vengeance and, after a stint in prison in 1962, finds a new wife Jeanne (DeFrance). They embark on a Bonnie & Clyde-style crime spree, travelling from Montreal to Arizona with the officials on their tail. But the Canadian prison can't hold him either.

Continue reading: Mesrine: Killer Instinct [L'Instinct de Mort] Review

Un, deux, trois, soleil Review


OK
What's real in Un, deux, trois, soleil is the teeming multiracial housing project in the slums of Marseilles where Victorine (Anouk Grinberg) struggles through her childhood and early adulthood. What's not real in this feverish dreamscape of a film is just about everything else. The story seems to unwind -- and then tangle -- inside Victorine's troubled mind as she seeks the affection her parents can't provide in the back seats of the cars of teenage Moroccan gangs and in the arms of a petty thief.

And mon dieu, what parents she has! Victorine's mother (Myriam Boyer) is quite insane, and her father (Marcello Mastroianni) is a raging alcoholic who spends most of the movie hunched over a bar drinking pastis. They torment Victorine at every stage of her young life, and we see every stage, with Grinberg acting 12, 16, 20, or 25 as the scene demands. With just the change of an outfit and some altered body language, we get Victorine as a middle schooler in love with her daddy, as a married woman with several children (it's hard to tell how many), as a tough teenager looking for trouble, and as a preteen willing to give up her virginity to anyone who'll be nice to her. Linear chronology flies out the window, and you're never quite sure what you're seeing, especially when dead characters reappear to chat with Victorine or address the audience. It's a tour de force for Grinberg, although some of its power dissipates in the overall confusion of the storytelling.

Continue reading: Un, deux, trois, soleil Review

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