«The Goes Wrong Show», de rire en pire

“Already tried. Already failed. It doesn’t matter. Try again. Fail again. Fail better. ” These words of Samuel Beckett (Cap for the worst, 1991) come to mind in the face of the sublime catastrophes at work in The Goes Wrong Show. Behind these six hilarious episodes aired on the BBC (available now on Amazon Prime) is the Mischief Theater led by Henry Lewis, Henry Shields and Jonathan Sayer: a British troupe recognized in 2012 for their play The Play That Goes Wrong, where calamitous actors try as best they can to play a detective drama despite the incessant incidents due to the setting which crumbles before their eyes.

After several successful variations of the principle on the boards (including one Peter Pan), in London and Broadway, here is the series, each episode of which can be enjoyed independently. Each time, the fictitious Cornley Polytechnic Drama Society tries out a different genre (melodrama in costumes, espionage, horror, trial …) with the same results: actresses and actors delighting to play deliberately badly (the one cabotine to death , even when he is playing a corpse; another out of tune recalls his partner’s lines), fighting like Sisyphus against badly worn props with devilish precision. How to slam the doors at Feydeau if they do not open? The Goes Wrong Show pushes this principle to the extreme. In “The Cottage”, Henry Lewis is the thunderous actor Robert Groves, who probably dreams of doing Falstaff but ends up as Santa Claus in the episode “The Spirit of Christmas”. In the skin of a villain caricature, the character seeks to make a dramatic stage exit with an ominous laugh. Except that all the exits are blocked. Here he is condemned to stretch out laughing the time (long) to find the exit. Or, better find, in the aptly named “90 degrees”, which sees the troop having to manage to save face, hung like mountaineers on furniture fixed on a wall, reciting the text despite the laws of gravity. Here we have a famous British vein of embarrassing TV comedy (I’m Alan Partridge, The Office), with its frustrated actors struggling to keep the show going. With the extra soul, thrill of the scene (the episodes are recorded in public) and a chaos mechanics precise in every detail, which has nothing to envy to the Peter Sellers demolisher in The Party of Blake Edwards or of keeping Buster Keaton against disaster in his films. We are amazed by the technique, the stunts (here, you have to know how to throw yourself into the void or avoid being beheaded by a fan) and the balance achieved between a very childish enthusiasm and a Brechtian approach. Or how to show a theater that looks like a school performance at the end of the year (with a little more resources) but with a brain reading, aware of the artifices of the boards (we often play here with the “Chekhov rifle”) . Between the two, we laugh heartily in front of the millimeter idiocy, the burlesque energy of this troupe which, in its falls, grimaces and gesticulations, points to a more than familiar anguish on stage and in confined life: how to exist between four walls.

Léo Soesanto

The Goes Wrong Show on Amazon Prime.


“Pink Films”, we parted good tatami

If the history of cinema often disdains the pink, associated with eroticism soft, watering clouds of standardized and juicy productions in Japan, this color, which is that of powdery flesh and offered nudity, finds its place in an underground and deviant history, where the pinku eiga (cinema pink in Japanese), although ultracodified, will give rise, from the 60s, to an explosion of formal experiments and will serve as a playground for many contemporary filmmakers, from Kiyoshi Kurosawa to Sono Sion via Nobuhiro Suwa. And especially the most rabid of all, Kōji Wakamatsu, who produced a phenomenal quantity but was also a fruitful producer, becoming the leading figure of this hybrid genre, crossing sexploitation, avant-garde, political radicalism and spirit of rebellion.

Because apart from the production conditions that define the outlines of the pink circuit (short films, shot in a few days for a handful of yen), its singularity is due to this lability of forms: the strict constraints – simulated sexual intercourse, hairiness and genitals cleverly concealed – also authorize a bubbling creative freedom, where sex is sometimes the seditious vector of political protest, pinpointing the shortcomings of a Japan under American tutelage, and of a sclerotic society, doomed to galloping capitalism. With consumerism as its only horizon, of which the very birth of pink and the reasons which conditioned its emergence seem to be an illustration.

Underground. The genre was born on the edge of the sixties and the decay of the big studios (Nikkatsu, Shochiku, Daiei, Toho, Shintoho and Toei) which then showed sharp losses in the face of the tidal wave of television inviting itself more and more into homes. To bring the public back to the theaters, the response will come from independent productions, in particular Okura Eiga, which favor touting B series where sex and violence go hand in hand. And from 1962, the flesh market by Satoru Kobayashi, with the luscious Tamaki Katori, inaugurates a genre whose devastating success will shake the industry on its foundations – to thwart this pink tsunami, Nikkatsu will also launch into the production of erotic films under the name “Porn novel” in the 70s, but by putting much more resources into it.

However, the pink productions were able to take advantage of a poor economy by redoubling their inventiveness, as evidenced by the box set published by Carlotta, bringing together five films unseen in France, accompanied by a fascinating booklet by Dimitri Ianni relating a brief history of cinema. Japanese erotic. Works with a fragmented aesthetic, including An inflatable doll in the desert (1967) d’Atsushi Yamatoya et Ecstatic prayer (1971) by Masao Adachi offer the most subversive forms of the lot – the two filmmakers, gravitating in the stable of the iconoclast Wakamatsu, with whom they share a same desperate and gloomy vision of Japan and connections with the political fringes. Blossoming on a soil flirting with the underground of a Matsumoto or a Seijun Suzuki (he was the screenwriter of killer’s mark), Yamatoya, borrowing from film noir the figure of the tortured private and yakuza eiga the dazzling action scenes, delivers a mental and labyrinthine maelstrom, where present, past, dream, reality, women loved, raped, disappeared, found, merge in an absolutely fascinating proleptic dilation.

Less surreal in its form, and more anchored in the daily life of depressed youth, in a misty, melancholy and devitalized Japan, Ecstatic prayer raises the question of sexuality (pleasure, prostitution, procreation), perceived as the extension of capitalism, shaping bodies to the dimensions of a normative society, as the latter muzzles individuals. A disenchanted vision echoing the revolutionary commitment of its author – Masao Adachi was a member of the Japanese Red Army, fighting for the Palestinian cause in Lebanon for thirty years.

An Inflatable Doll in the Desert (1967), by Atsushi Yamatoya.An inflatable doll in the desert (1967), d’Atsushi Yamatoya. Photo KOKUEI.

Psychedelics. Song for a woman’s hell (1970) de Mamoru Watanabe et A misguided family (1984) by Masayuki Suo, on the other hand, explores two mannerist sides of the genre, drawing on the compulsive cinephilia of their authors. Rare foray of pink into jidai-geki (film in costumes), the first renews, in a polished and sensual black and white, with the magical dreaminess of the great Japanese dramas (Mizoguchi is not far), the two heroes, incarnations of antagonistic god and goddess, being attracted towards each other by the sheer force of the tattoos marked on their backs … A misguided family, on the other hand, is a tribute to Ozu’s cinema, the grammar of which he uses (domestic setting, still shots, static game, dull voices, camera flush with the tatami mat). A style exercise playing on the contrast between the hieratic style of the style and the crudeness of the sex scenes, offering a deviant rereading of the family according to Ozu.

Finally Two Women in the Hell of Vice (1969) by Kan Mukai, one of the most prolific pioneers of pink, who signs here the only truly erotic and exciting work, magnifying in an explosion of psychedelic colors the body of his sublime heroine. Close to giallo in its formalist approach, only the baroque staging matters (languid superimpositions and intelligent use of repetition as a figure of speech echoing the mechanics of prostitution to which the young girl indulges). A sumptuous discovery.

Nathalie Dray

5 Pink Films Blu-ray or DVD box, Carlotta, € 40.


death of an indigenous woman, victim of racism on her hospital bed

A racist scandal has shaken Canada since the death of Joyce Echaquan, 37 years old, mother of a family,
member of the Attikameks, native people of Quebec. Hospitalized for stomach pain, she died Monday, September 28 at the Lanaudière hospital center, in the Joliette region, after being vvictim of racist comments on his hospital bed.

Shortly before I die, she filmed herself with her cell phone. She complained and said she was too medicated. The images were posted on Facebook. According to The Journal of Montreal, who was able to see the video, a person attacked her violently by insulting her: “Esti thick tabarnouche… It’s better dead that. Are you finished fooling… hug? thick and soft. “

The death of Joyce Echaquan shocked all of Quebec and shocked even the highest political levels. François Legault, Premier of Quebec, spoke of an event “totally unacceptable”. Justin Trudeau denounced an act of “systemic racism” : “What happened was the worst form of racism, when someone needed help the most. This is an example of systemic racism that is simply unacceptable in Canada.” Protests demanding justice for Joyce erupted across the country.

My wife lived her last days in agony surrounded by scornful people

Carol Dubé, companion of Joyce Echaquan.

Carol Dubé, the companion in her thirties, and father of her seven children, spoke publicly in Joliette on Friday October 2: “My spouse lived her last days in agony surrounded by contemptuous people. The last words she heard before she died, from those who were supposed to protect her:
insults, humiliation“, he said, according to comments reported by The Journal of Montreal.

A complaint has been filed and the relatives of Joyce Echaquan, supported by their lawyer Paul-Émile Ottawa, hope that it will lead to criminal charges. The Minister of Public Security, Geneviève Guilbault, announced this Saturday, October 3 to have called for “a public survey in order to clarify the causes and circumstances “of the drama.

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Mohamed Ramadan: A large part of the series “The Prince” is inspired by a true story

11:48 PM

Monday 28 September 2020

I wrote – Sahar Azzam:

The artist, Mohamed Ramadan, said that a large part of his series “Al-Prince”, which he presented last Ramadan, is based on a true story published in Al-Ahram Post about brothers who killed their brother because of inheritance.

Ramadan added, during a television interview on the “DMC Evening” program broadcast on “DMC” channel on Monday, that director Mohamed Sami was inspired by the events of the Al-Prince series from a true story published in Al-Ahram Post, pointing out that his artistic works do not depend on one theme. Al-Prince did not rely solely on the theme of revenge

He revealed that he wore diamond rings to represent the African continent from which diamonds are extracted, noting that his work with the late artist Omar Sharif in 2007 was the height of ambition for him during this period, and he was very proud of the late artist’s praise of him.


Drama, thriller and action in a week full of releases

The box office is filled this Friday with many and varied premieres. From the English drama with ‘A pastry shop in Notting Hill’ to the Spanish thriller ‘Black Beach’ passing through the re-release of the mythical ‘With death on the heels’, by Alfred Hitchcock, or ‘Greenland’, with Gerard Butler in a apocalyptic action.

‘A pastry shop in Notting Hill’

A drama with a sweet story

Through the point of view of three generations of women, director Eliza Schroeder makes her directing debut with this film, exploring the story of women who love each other but find it difficult to connect. Celia Imrie, Shannon Tarbet and Shelley Conn are the protagonists of this film that talks about pain, regret and how to move on after losing someone you love in a tragic and unexpected way.

‘Black beach’

Corruption, jail and oil

After making his debut in directing feature films with ‘Amar’ (2017), Esteban Crespo is now launching himself to tell a story about corruption and the abuse of power by white men over the black population. ‘Black Beach’, which, not by chance, is also the name of a cruelly mythical prison in Equatorial Guinea -also protagonist in the film-, shows the world governed by an elite of unscrupulous businessmen and features Candela Peña and Raúl Arévalo in the distribution.

‘Courtroom 3H’

A portrait of families

A documentary that has just passed through the competition section of San Sebastián, ‘Courtroom 3H’, an exciting judicial film story about real cases of a handful of unstructured families in a unique court in the United States, specialized in cases involving minors. Antonio Méndez Esparza has surprised the San Sebastian contest with this emotional and hard documentary that summarizes in two hours the more than 300 hours of views that the team shot.

‘Greenland: the last refuge’

Apocalypse in full pandemic

In these times when the apocalypse no longer sounds so crazy, Gerard Butler and Morena Baccarin join us amid fire and destruction in a film that focuses on a family trying to survive a comet is about to impact and destroy Earth . The film, by director Ric Roman, is intended to give hope that any situation can be overcome.

‘Never, almost never, sometimes, always’

A new youth drama

After triumphing at the Sundance Film Festival and the Berlin Film Festival, winning two awards from the Jury, and, after the San Sebastian Festival went to Las Perlas before its theatrical release, the new film by New York director Eliza Hittman is an intimate portrait of two teenagers in rural Pennsylvania.

‘Song to song’

Terrence Malickl late release

Although it is from 2017, Terrence Malick’s film had not been released in Spain until now, which it does thanks to the distributor Avalon -which also rescued last week ‘Knight of Cups’ (2015) -, and simultaneously on platforms such as Filmin. Ryan Gosling, Rooney Mara, Michael Fassbender, Natalie Portman, Cate Blanchett and Holly Hunter make up the cast of a story of love triangles.

‘The goddess of fortune’

Italian love

The Italian drama directed by Ferzan Ozpetek, known for films such as ‘I have something to say to you’ or ‘The last harem’, arrives in Spanish cinemas after having been a success in his country. The film won the David di Donatello for Best Leading Actress, for Jasmine Trinca. Ozpetek once again delves into the world of couple relationships so characteristic of her cinema, although, on this occasion, the film focuses on the disappearance of passion that gives way to new feelings.


A reflection by Willen Dafoe

In ‘Tommaso’, the Italian-American director Abel Ferrara – after five years of film break – once again relies on Willem Dafoe (who starred in his previous work, ‘Pasolini’) to put into images the obsessions and anxieties of an American filmmaker in Rome. The film is a cinematographic confession of the director, in which he captures personal experiences.

‘Vicky the Viking and the magic sword’

The 70s movie series

The film, which is based on the television series of the 70s, based in turn on the novel by the Swedish author Rune Jonsson from 1963, hits theaters directed by Frenchman Eric Cazes – who has also directed 78 episodes of the homonymous series-. On this occasion, Vicky and her brave friends will have to embark on a journey and face giant waves, villains, ancient legends and gods in order to save their village from evil.

‘Divine mercy’ and ‘The drug’

Opposing documentaries

There is also space on the billboard for two documentaries: ‘El Drugs’, about the life of Enrique Villarreal, ex-vocalist, bassist and leader of the rock band Barricada; and ‘La divina misericordia’, which introduces elements of fiction to narrate the life of Saint Faustina Kowalska.


A trip to childhood

After its good reception on platforms, a trip to the childhood of two children, Daren and Nadia, who lives in a beehive building in Palma de Mallorca, arrives at the ‘Pullman’ rooms by Toni Bestard.


baby dies after falling from a tree branch, mother is in a coma

Drama last September 8 in Germany. An infant tragically lost his life in the Harz Mountains as he traveled with his mother to a restaurant to celebrate his grandmother’s birthday.

The restaurant was easily accessible by car, but the family had decided to take a walk in the forest before the meal. The 32-year-old mother had taken her son with her in a sling.

But after only 200 meters of walking, a beech branch broke off and fell on the mother and her son. The child died of his injuries in hospital three days later. The mother is in a coma.

The tragedy would have been caused by the extreme drought and the bark beetles raging in the Harz mountains.


«Betty», chère Cherokee – Culture / Next

Daughter of a “Woman as striking as a dream”, Betty is a whole, at the same time the heroine, the narrator and the title of this 700-page book which has just won the Fnac novel award. The genealogy doesn’t end there: the author, Tiffany McDaniel, 35, is the daughter of the real Betty, whose mother was white and father Cherokee. It is a family fresco that takes place in Ohio in the 60s and 70s. The characters live there in a house that is claimed to be cursed. The landscape is magnificent, the racism alive, and the skin dark. The blood illuminates the text, the paternal affection and the sentences that we also want to remember.

1 – Is this a romance novel?

Not quite because assaults and morbid family secrets abound. But Betty is despite everything the picture of a couple who love each other, that of the parents of the heroine. The husband tells his wife that she is his “measured” : “Why am I your measure? – Because you are important […] you are my centimeter, my decimeter and my meter. The distance between your two hands is the distance that measures everything between the sun and the moon. Such things can only be measured by a woman. “ The adulated wife is special: “Mom takes the place of a million people on her own.” Nomadic, the couple cross the United States with their children, and the author mentions it with humor: “They went from town to town. Mom only seemed to get pregnant in one state to have the baby in another. ” The father is light as a feather, in communion with the earth, the plants, the trees, and the guarantor of the traditions of the Cherokees. He is a courier of rituals that does not impose any. But by dint of looking at nature, this man does not see the tragedy affecting those around him. Betty updates it: “Pain was my subject, love was no less.”

2 – Is it a feminist novel?

Yes, and from start to finish, including when Betty writes: “My father was made to be a father. And despite the problems that there may have been between my mother and him, he was also made to be a husband. ” For the Cherokees, “The earth is personified in the feminine”. So much so that it is the women who cultivate the land, because they carry within them the blood of the first woman of humanity. Betty is feminist from other, less direct angles. Born in the 1950s, the narrator is summoned by the principal of her school because she is wearing pants. But this garment attracts men’s eyes to the crotch: “Did you know that in places where women wear pants, crime is higher?” said the principal to the pupil. The novel, finally, is crossed by violent and bloody acts that Betty reveals.

3 – Is it a mythological story?

Without being strictly speaking, beliefs and traditions irrigate the book. It is an archaic and profound evil that Betty discovers who places an extract from the Bible in the foreground of each chapter. The style adopted by Tiffany McDaniel has the beauty and simplicity of a sacred text. The family home seems to come from the dawn of time: “She seemed to belong to the earth more than to humans.” Because he does not pay for words and he touches the truth, Betty brings to mind the novels of Faulkner. Moreover, it is about an ear of corn.

Virginie Bloch-Lainé

Tiffany McDaniel

Betty Translated from the American by François Happe. Gallmeister, 720 pp., € 26.40, (ebook: € 17.99).


seven dead and 177 people infected with the coronavirus, it has become an “ultra-propagating” event of Covid-19

The wedding, attended by 65 people – violating the official limit of 50 people maximum – dates back to August 7, with first a ceremony in a Baptist church and then a reception at the “Big Moose Inn”, two places near the picturesque small town of Millinocket (4,000 inhabitants).

Ten days later, 24 people associated with this event had tested positive for Covid-19, and the Maine Center for Disease Control (CDC) opened an investigation.

On Thursday, the director of the Center, Nirav Shah, provided a new toll: at least 177 people infected and seven people dead – of whom “none were physically present” at the wedding, he said.

“Contact tracers” have linked several outbreaks of coronavirus across Maine to the marriage: more than 80 cases in a prison 370 km away, one of the guardians of which was at the wedding, 10 probable cases in a Baptist church in the same area, and 39 cases and six deaths at a retirement home 160 km from Millinocket.

For this town and its region, which had relaxed the rules of distancing introduced at the start of the epidemic and believed that the virus belonged to the past, the recall was brutal.

“When we learned what had happened, everyone went back into confinement (…) We closed everything in town,” said Cody McEwen, president of the city council.

“They shouldn’t have”

Some residents were clearly upset with the organizers of the event, starting with the hostel whose license has been temporarily suspended.

“They shouldn’t have organized this wedding. They should have been limited to 50 people as they are supposed to do, ”lamented Nina Obrikis, member of the Baptist Church. “Now we can’t go anywhere, do nothing. “

The governor of Maine, Janet Mills, warned Thursday the 1.3 million inhabitants of this small very rural state, where the rate of contamination is currently limited to 0.6%.

Such outbreaks “threaten to ruin the gains made” in the face of the epidemic, she stressed. “The Covid-19 is not on the other side of the fence, it is in our gardens. “

Since the start of the epidemic, a series of super-propagating events, causing an exponential number of cases, have been recorded around the world. The first identified in the United States were a biotech company conference in Boston in February, attended by some 175 people, and a funeral in Georgia where more than 100 people contracted the virus.

In recent weeks, concentrations of cases have been particularly high on college campuses, prompting students to be sent home.

A recent textbook case is Oneonta Public University in upstate New York, with more than 670 cases detected in one month.

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“Don’t look back”, interlacing of black signs

There are films that no vision exhausts. Whatever the ending and the stale suspense, their richness is such that they seem to have been made to be seen again and again. Few, however, are those who, like Nicolas Roeg’s third feature film, Don’t look back (1974), adapted from a short story by Daphné du Maurier, invite, from the foregrounds, the gaze into a forest of signs where one senses that the smallest detail will make sense, like the scattered pieces of a puzzle whose The final image would still elude us. So, the opening scene: not only does its fragmented construction and alternating montage inject a tension foreshadowing a tragedy to come – the drowning of a girl in a red oilskin in the pond near the family home – but she is, moreover, punctuated by strange elements which bathe it in an atmosphere of tale or nightmare. A white horse crossing the countryside, the mimicry of the child’s gestures, a slide whose colors begin to rub off, like a puddle of blood flowing upwards, defying gravity … And this way, above all, that the father to study it with a magnifying glass, as if he wanted to finally detect the clue of the disastrous accident which would have enabled him to save his daughter in time. Everything happens, in short, as if this sequence related less to the event as it unfolds than to its fantasized and traumatic reconstruction, rehashed a thousand times in the head of a being devastated by grief and guilt.


A brutal sound connection then projects us into a wintry and gloomy Venice where the bereaved couple stay. John (Donald Sutherland), architect, works there on the restoration of a church as dilapidated as the city itself, then stricken by a series of murders, while his wife, Laura (Julie Christie), meets two sisters, one of whom, blind and medium, claims to be in contact with the little deceased and tries to warn her of a danger that threatens her husband …

Psychological drama, fantasy thriller, metaphysical tale and even yellow, genre from which are borrowed the formal splendor and the fetishism of the color red, always placed in the center of the frame, Don’t look back delivers a questioning of appearances, a crossing riddled with water games, reflections, mirrors, doubles – the silhouette in a red hood frolicking in the dark alleys can be seen as the monstrous replica of the deceased girl. It is also a languid dive into the throes of melancholy, the impossible mourning of a man who strives but fails to restore the past (of a dying civilization as of his own personal tragedy), because ‘he cannot face the present – as the English title suggests, Don’t Look Now.


This inaptitude dictates to the film an exploded and non-linear conception of time, where the before and the after merge, like this historic love scene, interspersed with flash-forward of the couple getting dressed. Caught between two hauntings, the trauma of the past (drowning) and the premonition of the future (his own death of which John is unable to interpret the signs), the film, like atomized time, is a stuffed fabric, a semantic mosaic to be deciphered beyond the fragile geometry of space.

Nathalie Dray

Don’t look back of Nicolas Roeg (1974) with Julie Christie, Donald Sutherland… 1 h 52.


Basketball, baseball, tennis: historic boycott of matches after police shootings on Jacob Blake

Police violence.

Protesting police fire on Jacob Blake, the Milwaukee Bucks boycotted their NBA game on Wednesday, followed by other baseball, football and even tennis player Naomi Osaka. A strong and unprecedented act in professional sport in the United States. The movement initiated by the Milwaukee players quickly spread, after forcing the NBA to postpone two other meetings also scheduled for Wednesday, Houston-Oklahoma City and Los Angeles Lakers-Portland, the players of these teams having also opted for a boycott.

It was the Brewers – like the Bucks in Milwaukee, about fifty kilometers from Kenosha where Sunday’s drama took place – who followed suit by refusing to play against Cincinnati. Two other baseball games (MLB) have been postponed. Ditto in MLS, the North American football league, where five of the six games on the program were boycotted by the players. Finally, it was the Japanese Naomi Osaka who decided not to play her tennis semi-final on Thursday in New York, where the Cincinnati tournament is relocated.

“As a black woman, I feel like there are much more important issues that need immediate attention, rather than watching me play tennis,” said the 22-year-old woman born to a Japanese mother and Haitian father, and who has spoken often in recent months to denounce racial injustice. In the process, the tournament postponed the games scheduled for Thursday and Friday.

(Photo AFP)