Film: Collateral Beauty - A philosophic tale

Opposite: Collateral Beauty, 2017, (Here, Hellen Mirrer and Will Smith)
Hidden beauty (Title in french) whose original title is Collateral Beauty would assume an imprecise and fuzzy idea of the idea of the beautiful. Behind this title, the film tells the tragic experience of Howard, a New York publicist, when he loses his daughter from a rare disease.
Living serenely after the loss of her child is an insurmountable, difficult or even unthinkable act. The behavior of this man who loses all benchmarks and psychological markers, isolates himself in a dumbness silenced and impermeable to his social, professional and friendly sphere.
The director explores the different facets of this depressive phase: mental confinement, social breakdown, sentimentality and amnesia are its main characteristics. How can a despairing being emerge from this psychological torpor? How can we intelligently bring it back to life? How can he learn to survive and live again after his daughter's death, when the very idea that one day we can lose our child is terrifying?
The professional entourage worried about the future of society and the mental state of their advertising friend, decides to find an effective way to communicate with him. This communication must be based on an emotion equal to or even greater than that experienced by the father in mourning.
Howard forgets his company, only comes to work to place the dominoes one after the other. Prisoner of his grief and victim of the injustice of life, he wrote letters addressed to Time, Love and Death.
Three of his collaborators then appeal to three theater actors to represent these major metaphysical concepts that are Time, Love and Death. Twice, Death, brilliantly played by Helen Mirrer answers her questions and philosophical criticisms relating to this notion. Time is represented by a young man and Love by a young woman.
These three abstract concepts will concretely challenge this father. They provide him with reasoned answers to questions and reproaches existential rightly also, that their address this bereaved father. This questioning forces him to leave his psychological prison. His reaction, at first glance, is lively because Death can not, a priori, speak to him, just as the concept of Love that of Time can not apostrophe it. But his words are not only listened to. They are also heard and understood. This verbal metaphysical confrontation with Death in a New York subway makes the problematic real. His fears, his anger, his pain, his grief are clearly expressed. At the same time, Howard tries to enter a circle where parents who have also lost their child are gathering, expressing themselves and trying, as best they can, to overcome their grief. His step is hesitant because it is heavy with grief.
But all these events put in place by these collaborators and his personal approach to contact with other bruised parents, lead him to go beyond the psychological threshold in which he had remained and to bring him to a more complex reflection. Until the day when, on a board of directors where the future of the company is taken, his collaborators reveal the stratagem to him and reveal to him the depression into which he slipped. Howard realizes that living people need his presence, his collaboration not only professional but also and above all human. He wakes up slowly from his torpor and goes to the woman who runs the circle of bereaved parents, herself victim of the death of her daughter. A video of her daughter's memories in her living room helps him find the memory because this woman is his wife. Locked in an amnesia caused by the violent grief, he recovers the memories with his wife and can now share the pain with the mother of his child.
Howard's professional, friendly, and loving entourage displayed benevolence and intelligence in bringing this bereaved father back to life. And the games of dominoes that Howard used to train and make fall to amuse his daughter, becomes a metaphor. The interconnection between humans exists. If one falls, he will train all the others. Benevolence is there to make a barrier to this fall. This film treats of mourning in a judicious, intelligent, deep, original,
Each of us is surrounded by a friend who comes in a subtle and caring way to alleviate the pain and help us re-tame the happiness despite the misfortune.
The director David Frenkel thus approaches, with many well-known and talented actors, a deep subject, the loss of a child or a loved one, with philosophical and metaphysical questions on the major concepts of Existence, namely, Time, Love and Death. For some, despite the immeasurable pain, their lives become a daily struggle, for others, grief, irreversible coma and suicide are the only possible escape routes. Terrible injustice, anger, amputation of a love, the motor of life, the loss of a child definitively transforms a parent.
So Collateral Beauty would be a philosophical tale about the surrounding benevolence, this hidden beauty, alongside a man who is going through this tragedy. These three philosophical issues are three paths that we follow and that intersect along our path. We must work with these three existential notions, confront them and undoubtedly live with them.

Corinne LUCY

Tribute to literature for youth: The Kingdom of Kensuke - Michaël Morpugo

Opposite: The Kingdom of Kensuke, Michaël Morpugo
While the young boy Michael is sailing around the world with his parents, he passes overboard during a violent storm and fails with his dog on a Pacific island.
How do you live, when you are 11 years old, on an island that you do not know, without food resources or a survival manual?
How can we confront fear, loneliness, hope, live despair, feel the existential questions that may arise in each of us under such circumstances? This is what subtlety, simply and wisely describes Michael Morpurgo, contemporary English author.
The author portrays a family united in the face of the father's loss of employment. This family decides to make an extraordinary trip, that of sailing around the world. The physical, material preparation and the mastery of the boat are done over several months. Everything must be controlled, even Michael's school education. In turn, the parents make the young boy work, relying on concrete cases of the sea, the maritime landscape.
Until the day when Michael goes overboard in the midst of a storm trying to save his dog. In the open sea, he loses consciousness and fails on an island. Will start for him an extraordinary learning to live without resources and without benchmarks. If the lassitude of the first times takes the step, very quickly, he will look in him tags to trace a possible line of life. But the presence of an inhabitant of the island, Kensuké, an old Chinese sage, will help him to go through all the psychological phases in front of a psychic test of this scale. Kensuké will allow the child to feed properly on fishing and fruit provided he stays in his own territory. We learn that Kensuké flees the presence of boats - he failed on this island during the Second World War, when the Americans dropped a bomb on Nagasaki, and considers all foreigners.
In this story of adventures, like a Ulysses or a Robinson Crusoe, Michael will face the fear, intriguing sounds of an island, anger, despair and hope, resilience. This psychological odyssey in a unique place, lonely, where confidence can only be made with the only inhabitant of the island and its animals, is exploited in stages. Betrayal, rebellion, confidence, friendship and tutoring are put in place according to the trials of nature.
Thus, Michaël Morpugo fully succeeded in his role as an author in the field of youth literature. His simple writing awakens in each of us the emotions that we could experience under such circumstances. The confrontation with a stranger, the sharing of the island, the respect and the experience of adults, the transmission of knowledge, wisdom and benevolence are well exploited and related problems. Moreover, art is a therapeutic and beneficial means that helps these two beings to live serenely in solitude. Indeed, Michael learns Chinese painting from Kensuké, who draws precise and pleasant paintings every day on shells. Kensuké also recalls three times his artistic master, Hosaki. Michael's parents, through research, will find him and Kensuké will choose to stay on this island.
The author's writing is touching, sensitive. The themes evoked are specific to the story of adventures and the novel of learning on a background of humanity. Michaël Morpugo has written more than a hundred books for youth literature, crowned with numerous literary prizes. Since 1978, in Devon, he and Clare, his wife, have opened three farms to school groups to help them discover the countryside. Each year, they receive more than 3,000 children, and were decorated by the British Empire for their actions for children.In 2006, Michaël Morpugo became an officer of the same order for services rendered to literature. He defended youth literature relentlessly, with energy and generosity, and created the post of Children's Laureate, an honorary mission dedicated to the promotion of the children's book, junior folio, Gallimard Jeunesse, 2015

Corinne LUCY

Music: Sublime & Silence- Julien Doré

Opposite: Sublime & Silence, Julien Doré, 2016
Let me go away from the lies and sounds of men
Let me leave this bewildering and terribly violent world
Let me abandon a brutal and enraged world policy
Let me abandon this vile, false and bereaved universe
Let me separate from this odious and deadly sphere
Let me take the first flight for another atmosphere
Let me take the first train for another world
Let me take my bike, my scooter
And leave with my music under the arms
Let me listen to Sublime & Silence on the bay of Audierne de Douarnenez,
Let me look at the starry sky on Sublime & Silence in the Moroccan desert
Let me hover over Sublime & Silence by pacing the terraces of Machu Picchu
Let me dance on Sublime & Silence in the mountains of Laos
Let me think about Sublime & Silence on a boat in a lake of Viet-Nam
Let me be in your warm and sweet arms on Sublime & Silence in Central Park surrounded by squirrels in New York
Let me put my head on your shoulder
Let me sleep on Sublime & Silence on a beach in Whitehaven Beach
Let me write about Sublime & Silence at a Trafalgar Square pub in London
Let me think about Sublime & Silence in the Yellow Desert of the Namib Desert
Let me pace the Great Wall of China on Sublime & Silence
I want to be in the Sublime & the Silence
I want to listen, to look, to glide, to dance, to think, to sleep, to write in the Sublime & the Silence
The Sublime, the Silence,
Sublime and Silence
Corinne LUCY

Film, Passengers :Living alone or with two in space

Opposite: Passengers, Morten Tyldum, 2016
Some thousands of humans, women and men from planet Earth decide to invest in a very long inter-galactic journey aboard a spaceship in order to live in a better world on another planet.
The journey, from the land to the exo-planet Homestead II, lasts more than a century. This journey therefore requires the hibernation of bodies. Placed in individual closed boxes to freeze the physical and intellectual state and thus fight against aging, each human being is thus prepared to join a wonderful world, far from a polluted planet. The spaceship thus peacefully crosses the galaxy until it strikes a meteorite.This slight, seemingly innocuous collision causes a piece of a caisson in which the hero, Jim, is damaged. This damaged de facto housing is considered for the logistics and electronic environment of the spacecraft, as a voluntary awakeningBut he is accidental and Jim finds himself the only conscious man on board the ship. It is not only alone, but it is also hundreds of years of the planet Homestead II. Learning thus that he must live only ninety years aboard this ship, without human company, except that of an android with a human face, he is confronted with various existential problems.

This sci-fi film that we could assimilate to other films on the conquest of the galaxy, opens the doors of a world little explored until now; That of a daily life in an extraordinary place, here that of space. It is not about living on another planet like Seul on Mars, living on a desert island like Seul au Monde, or living alone in the ocean with only a tiger like the L'Odyssée de Pi.And yet, it obviously presents many similarities with these films, since it is a question of living alone, in a place that is a priori inhospitable, even dangerous. And the phases of human behavior in this kind of place are partly identical. But the director raises other interesting and relevant issues and ideasIndeed.
In a first stage, the director highlights the different psychological phases that a human being lives when he realizes that he will have to live alone in an unknown place: denial, anger, desolation, sadness of find themselves alone, then search for food for survival, the discovery of freedom and multitudes of actions to perform, then come weariness, exasperation and finally resilience. Jim will go through all these phases in this ultra-technological environment.
In a second phase, the film opens up another way that appeals to everyone's conscience: the possibility of voluntarily awakening a human being, leaving him to break his life, in order to no longer live alone. This possibility would be the act of pure egoism. This idea germinates in him, after watching a video made on a woman before the space departure. This young woman seduces him and falls in love with him. This awakening, forced, he is aware of it, would break the life of this woman named Aurora.This dream, that of having an ideal feminine presence at his side, turns to obsession. After long months of reflection and psychological torment, he puts his project into execution and this woman wakes up. The psychological phases of heroin, when she discovers that she is awakened sooner than expected, are almost similar but less strong and shorter than Jim's.Then the phases of discovery of the one and the other, the physical attraction and the evolution of love during this journey until the revelation by the android, of the forced awakening of the woman by Jim are clearly Identified. The anger, the drama of a wasted existence, the reproach to the other, the desire to kill the killer will appear. The tensions are very strong. Film with a fine psychological and emotional analysis, the film offers new avenues of reflection.
Outside, the technological worries encountered by these two human beings: parts of the ship deteriorated, the awakening of a captain tired of having made too many interstellar voyages and the physiological consequences of the hibernation of his body, the film offers a New reflection: the possibility of hibernating or finally living their love on this ship for nearly ninety years. The second option will be lived by the two heroes. They will live with the food, safety, sporting and entertaining comfort that this ship offers.
The film is interesting on many points: the staging of the psychological phases in the first place of the hero, the questioning of the relationship with the other in a sensitive context: being alone and dying, or living together in an unusual place, The one living from an accidental awakening and the other from a forced awakening with the psychological torments that are linked to it.
The film also offers a perfect visual realization and highlights the new technologies, the sophistication of a performing ship. Film of anticipation, it evokes what could be tomorrow our life: inter-galactic journeys and hibernation of the bodies with of course a reflection on the ecology of our Earth; The colonization of a new planet would have the sole purpose of escaping from a polluted soil.
Beyond all these existential reflections and the demonstration of advanced technology, the director also evokes narrative and writing, two fundamental aspects of testimony. Indeed, Aurora keeps the taste for writing because his father was a writer. In turn, she writes all her emotions and then her extraordinary life with Jim aboard the spaceship for eighty years. This aspect is essential because the director implies that without his narrative, the film will not have taken place.

Corinne LUCY

Music: Agnès Obel - It's happening again - A celebration of woman

Opposite: Agnès Obel, Danish artist. Musician, singer, author, composer.

Album: Citizen of Glass


The year 2017 begins with reflection, attentive observation and expectation of consideration, where benevolence seems to be failing.

Meditation, wisdom, introspection, tolerance and resilience are the fundamental points to re-evaluate. It thus opens itself up to the analysis of political and social phenomena suffering from a lack of tolerance and profound humanity. Social movements for some who look to various faces of the human being and for others who close, shut themselves, offering de facto, a fragmented and malicious vision of the surrounding world.

The point of vigilance remains the fundamental respect of the woman who can be flouted. This sensitive context, which undermines the right of women, on the one hand by a radicalization of Islam and on the other by an American mysogenism elected, makes it important to turn more towards what makes life and moving the world sensually, emotionally and intellectually, that is, creativity coming from all genres, sexes, ages, nations; Where this creativity makes us more sensitive, more reflective, more awakened. A formidable emotional vector, art never ceases to amaze us, astonish us, seduce us and make us reflect on this other look that women and men pose on our world.

Thus, to start the year smoothly filled with inner richness, contemplation and fine sensitivity, I put forward a female artist, musician, singer: Agnes Obel, group composed of four women musicians. This music highlights sensitivity, artistic intelligence and creative research: It's happening again, from the album Citizen of glass, 2016. When Vincent Josse, a journalist on France Inter, asked Charles, a trainee on the show, "why do you like the songs of Agnes Obel?" He replied, in a whisper: "Because she looks like me. She loves nature and when I listen to her on the bus in Paris, the streets are transformed into parks, forests, It succeeds in metamorphosing what I look at. " (France Inter, 30 December 2016).

In this period, is it still necessary to recall that we are united, women and men, of the same talents and gifts? That the genius is of the masculine and feminine genus. How to do without Nicole Garcia, director of the stunning film Mal de Pierres, Jane Campion, Sofa Coppola, Agnes Varda, Coline Serreau, Maïwenn, Liza Azuelos, Emmanuelle Bercot, Meryl Streep, Catherine Deneuve, Mélanie Laurent, Angelina Jolie , Natalie Portman Keira Knightley, Vigée Le Brun, Tamara de Lempicka, Berthe Morisot, Frida Kahlo, Marie Bracquemont, Dora Maar, Elleen Thesleff and all those known and unknown in the most remote countries?

The Women's March of January 22nd, demonstration to defend the right of women, in reaction to the sexist remarks of Donald Trump demonstrates still our long fight ...

Homage also to men who fight for the rights of their daughters, their wives, their mothers.

Thus, against all odds, this year will be the celebration of systematically devalued minorities: women, children, foreigners, homosexuals, the handicapped, the oppressed.

Corinne LUCY

The child - the parent - the family

Opposite: Oedipus and the Sphinx, Gustave Moreau, 1864 (detail), Metropolitan Museum of Art, New York
Relationships between parents and children have often been the subject of tensions, misunderstandings, but also the revelation of infinite love and sacrifice in art - cinema, literature, painting, sculpture.
In the cinema, father-son relationships, mother-son, father-daughter and father-son are frequently subjects of intrigue, knots in the narrative and profound issues in the course of history.
Thus, the character of Kilo Ren in Star Wars, Reveil of the Force, is divided between Good and Evil, between the supreme leader Snoke and his father Han Solo whom he kills at the end. In The Revenant, the hero Hugh Class, will avenge the murder of his son. Last Train to Busan, Poesia sin fin, and finally Room all have as stake the ties woven between the parents and the children.
This child, from antiquity, was the object of myth and psychoanalysis. In this myth, Oedipus is in love with his mother and kills his father. Sophocles was inspired to write Oedipus-Roi and Freud used it in psychoanalysis.
Whatever the relationship may be, the relationship established between a parent and his or her child, these bonds in the family sphere may be lost, welded, broken or strengthened.
As they are conflicting, harmonious or ambivalent, they will never be harmless.
And the painting offers us many paintings where the family is represented. From Rubens to Picasso, through Goya and Veronese, family portraits pass before our eyes.

Corinne LUCY

Film: "Poesia sin fin" - The bitter desire to be a poet or the visual language of poetry

Poesia sin fin is the story of a Chilean, Alejandro Jodorowsky, who wants to become a poet in a Chile of the years 1940-50.
Continuation of the first film the danza of the realidad, the history takes place from now on in Santiago. Alejandro is a young child and then a teenager, well played elsewhere, by the young actor Jérémias Herskovits. The role of the father and adult Alejandro are played by his two sons.

Alejandro does not wish to follow the medical studies imposed by his father. Only poetry inspires and inhabits it. So begins a journey with the artists most seen in this Chile of the first half of the XXth century.

Between drunkenness and life-stages related to the learning of life between artists, certain scenes are full of poetry and others are uncomfortable and deliberately so sincere and honest that they can be provocative (the scene Love with a young woman unwell in particular).

Alejandro said, "I will be a poet and nothing else". This desire is categorical as the film. The director features strong, acid, burning, grotesque, clownish, outrageous and sometimes violent slices of life in the image of his uncommon and ridiculous urge to become a poet.

You will illuminate my way like a burning butterfly scandal Alejandro. Life has no meaning, then, live, live! Whispered the poet in his ear.

The tone is given: each scene borders on the caricature, and the trait might seem forced on all the characters.

The mother is a woman who expresses herself in singing, a portrait contrasted with that of the tyrannical father. The first poet with whom he begins his initiatory journey, is a woman who whistles liters of beer and rote.

Beyond the caricature, it is indeed the bitter and profound desire to be a poet who inhabits it.

Thus, what would this life of artists be without the culmination of creativity, without the sincerity of the intention and without a choice of life definitely assumed?

Poetry is in him.

The film is also laden with symbols: the cut-off family tree (break with the family succession), but also of accepted ideas: all poets would be homosexuals - as if the artistic milieu and more particularly that of poetry was exclusively composed of homosexuals.

The director also breaks the codes of cinema by breaking the stage artifacts - men in black move and carry objects to the actors, eventually reducing the latter to the status of puppets.

The scenes are visually very strong, colored, symbolic, rough, sometimes showing a certain embarrassment, even defeat.

The weak point is a staging that is sometimes outdated from a functional point of view and sometimes lacking a certain dynamism.

Strong point for the music that accompanies the scenes.

Forgiveness is also the final point between filial relations. The son forgives his father for his pettiness and his lack of understanding of him. It goes in this direction, definitely in the adult wor

Lmasks, both of them take off his disguises and pretenses-the son shaves his father's skull and goatee. It is thus, without artifice and color, in the nakedness of truth, that each one resumes the path which is deeply destined for them.

The last scene of the film is thus the exact opposition of the first scene in which the population wore masks. And the departure for France by boat is the whole meaning: he thus reaches Thus, far from the image of romanticism that can sometimes be expected of poetry, it is indeed a rage, sometimes so violent and rough as it is, the desire to be a poet. Poetry is also an infinite struggle between the desires of others, its own expressions and emotions, like any other unusual profession. It also has this unsuspected power to bring down artifices because it comes from the depths.

It is a path that is both mental and poetic. It is therefore largely artistic and existential. The film is thus the visual language of poetry: the depth of the ideas and the feelings behind the artifice and the musicality of the words, in this case here the scenes and the colors.

Corinne LUCY

Film : Last Train To Busan

Gabriel Zimmermann made rage into a poem and of rage are there moments of grace, of pure poetry in the human being?
Last train to Busan realized by Sang-Ho Yeon is a zombie movie. In fact, men and women contaminate each other instantly by bite. They thus become robots to grind human, thirsty for healthy human flesh. These trying scenes offer the viewer visions of horror.
Some shots show human beings piled on top of each other, clad on glass between the wagons and those on the station platforms. The mere sight of a being unscathed, even lucid, puts them in an extreme state of crisis, on the side of a predator and its prey. Only the absence of light extinguishes their instinct of enragement. The film location also suggests a feeling of suffocation where no outcome would be possible, the plot taking place largely on a train. Paradoxically, as the train divides into wagons, heroes can quickly find solutions to escape the zombies. So behind this subject where these neurologically infected undead bite themselves, the director invites the viewer to examine various paths and trajectories of reflection on the social, psychological, financial, ethical and political level, behind extreme politeness and diplomacy South Korean.
The director thus paints the portrait of different psychological profiles of men and women facing an eminent danger (war type, earthquake). Self-help, empathy, filial relations, questioning of priorities but also egoism, even egocentrism, are demonstrated. The emergency denounces the ungrateful attitude and the perversity generated by individualism. The reactions also differ according to the groups in which men find their advantage.
The financial and diplomatic stakes also take precedence over the various human commitments. The hero, treatise of "boursicoteur" and a director of a transport company are considered differently according to their professional status and attitude given. Their incarnations take different trajectories and even contrary to the thread of the plot. The "boursicoteur" is the one who will save the last survivors and the director is the one who will contaminate the last savior.
Behind this painful face, hard and horrible distress caused by the appearance of the zombies also stands out a lot of sensitivity. This fiber, as taut as it is, revolves around the couple, duos, women and a rustic-looking countryman. The characters of the pregnant woman, the two older sisters and the daughter of the hero offer a more subtle and profound view of filial relations.
In addition, transmission of the virus manifests itself in two ways: the bite to the limbs takes longer to arrive at the nervous system than the neck bite that instantly contaminates the being. The film also denounces the drifts of research either biological, chemical or nuclear. The origin of the virus remains mysterious, the director giving free rein to reflection. It certainly appears in a very sensitive area where all beings and objects must be cleaned before entering this place.
Let us go further in the reflection:
The story also takes place on a train that leaves from North of South Korea and follows the KTX route that leads to Busan, South of South Korea. This path remains politically symbolic. Indeed, the North of South Korea is one of the places where crazy contamination begins; Videos of scenes of horrors appear on the train. And the only hope of a normal life, surrounded by healthy and thoughtful people would be in South South.
Can one thus think that the plot would be a criticism of North Korea where a dictator submits beings to single thought, to a psychological confinement, with very little openness to the world: 25 million inhabitants for twenty Eight original websites, where there is very little means of communication and of course, country, attached to the atomic weapon and where nuclear tests were launched.
Beyond the political metaphor, Last train to Busan would also be the odyssey of a hero, an initiatory journey of a man, where from father indifferent to the life of his child, he must face obstacles to save what Remains ultimately dearest to his eyes: his daughter and becomes by it, the ideal father sacrificing his life for that of his child.
He recovers the true values and ends up drowning the last moments of his life in the first emotions of paternal life.
Moment of grace, filled with "poetic moments" combining classical music with the first images of the precious moments of the birth of her baby, after passing through the gates of Hell, he leaves his child alive in the arms of a future Mom, the only survivors of an infernal journey.
Corinne LUCY