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Résumés(1)

Bella est une jeune femme ramenée à la vie par le brillant et peu orthodoxe Dr Godwin Baxter. Sous sa protection, elle a soif dapprendre. Avide de découvrir le monde dont elle ignore tout, elle s'enfuit avec Duncan Wedderburn, un avocat habile et débauché, et embarque pour une odyssée étourdissante à travers les continents. Imperméable aux préjugés de son époque, Bella est résolue à ne rien céder sur les principes dégalité et de libération. (ESC Distribution)

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Critiques (16)

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Kaka 

Toutes les critiques de l’utilisateur·trice

anglais A bizarre social satire tackling some of today's hot topics. Full of metaphors and subtle allusions, in an unusually bold visual concept of 1950s cardboard sets, black-and-white inserts and fish-eye camera orgies. A freak show love story that shows a complex palette of emotions and snapshots of adult life, it just loses its edge in places. Cut it, cut the sex scenes by half and 110 minutes of running time would be acceptable. This way we can admire the bold and distinctive story and the result is primarily controversial and only then entertaining. ()

POMO 

Toutes les critiques de l’utilisateur·trice

français ...et Edward aux mains d’argent trouva l’amour de sa vie en la personne de Bella... L’intellectuel Yorgos Lanthimos dans le monde fantastique de Tim Burton avec une bonne dose de sexe, le sujet socialement brûlant de l’émancipation, et un traitement dans une forme artistique qui vise les plus hautes récompenses cinématographiques. Une parabole grotesque sur le passage à l’âge adulte et la réalisation du moi féminin, teintée d’un humour particulier. Une merveilleuse paraphrase de Frankenstein en noir et blanc, avec une brillante représentation du comportement instinctif d’un esprit enfantin curieux dans un corps d’adulte avec ses besoins physiques. Le processus bien décrit de l’effondrement de la raison et de l’ego masculins après être tombé amoureux d’une femme sexuellement animale et mentalement déséquilibrée. Poor Things a l’esprit d’un film d’art et d’essai européen que tous les acteurs d’Hollywood convoitent. Il se peut que je lui attribue finalement une cinquième étoile, ou pas. J’ai trouvé beaucoup de scènes trop maniérées et pas aussi drôles que la plupart des spectateurs qui s’esclaffaient. [Festival du film de Sitges] ()

Goldbeater 

Toutes les critiques de l’utilisateur·trice

français La fille de Frankenstein et son odyssée émancipatrice à travers l'Europe et la Méditerranée. Yorgos Lanthimos nous présente à nouveau un fragment d'un monde fantastique tordu, qui, pourtant, présente plus de parallèles avec le nôtre qu'on ne le penserait au départ. L'histoire est axée sur l'évolution du personnage de Bella, laquelle se voit ramener de la mort à la vie par un scientifique excentrique, puis, avec le cerveau d'un enfant, découvre le monde et commence à partir dans toutes les directions, y compris certaines qui pourraient être considérées comme taboues. Emma Stone offre une prestation magistrale et son personnage accumule des couches de plus en plus nouvelles au fur et à mesure que les minutes s'écoulent, le tout jusqu'à un final triomphant. Avec une telle aventure captivante, visuellement extravagante et humoristique sur le voyage de l'innocente héroïne vers la découverte du monde réel et l'émancipation progressive, on n'a pas le temps de s'ennuyer. [Sitges 2023] ()

Filmmaniak 

Toutes les critiques de l’utilisateur·trice

français Le plus extravagant Lanthimos jusqu'à ce jour, ce qui est déjà beaucoup dire. L'un des réalisateurs les plus singuliers de notre époque s'est complètement lâché et a en plus reçu beaucoup d'argent pour réaliser ses visions originales et déjantées. Le résultat est une comédie bizarre et complexe, incroyablement amusante et chargée de sens, avec des motifs « frankensteiniens », sur le voyage émancipateur d'une femme à la recherche de la connaissance du monde et d'elle-même. Une femme avec un corps d'adulte et le cerveau d'un enfant à naître, que nous suivons dans un récit en chapitres, lors de son voyage à travers l'Europe, où elle enfreint toutes les conventions sociales imaginables, ridiculise progressivement le patriarcat et finalement lui plante un couteau dans le dos, tout en traversant une évolution complète, de bébé curieux à adolescente naïve et enfin à intellectuelle éloquente avec une opinion claire sur l'état des choses. Des dialogues intelligents, un concept réfléchi, un sujet actuel, des images visuellement envoûtantes, des performances d'acteurs captivantes, des idées diaboliquement morbides, beaucoup de nudité, un film artistique comme du vin, des nominations aux Oscars inévitables. ()

claudel 

Toutes les critiques de l’utilisateur·trice

français On peut dire que c'est une interprétation bien singulière de Frankenstein par Lanthimos ! Mais le film offre bien plus. À beaucoup d'égards, il est absolument parfait – surtout dans le scénario, les dialogues, le langage incroyablement raffiné, les blagues et les jeux de mots en français, le portugais à Lisbonne… Je n'avais encore jamais été aussi impressionné par l'expression langagière dans un film ! Emma Stone, sa performance m'a profondément marqué. Elle a relevé un défi énorme et l'a réussi à 200 % ! Si elle a reçu un Oscar pour La La Land, comment l'Académie pourrait choisir autrement cette année ? Lily Gladstone pourrait tout aussi bien recevoir une statuette pour un rôle secondaire, c'est une évidence. Un rôle extrêmement exigeant et complexe, où chaque mot, chaque mouvement, chaque clin d'œil compte. Elle a montré une telle maîtrise qu'elle laisse les autres actrices de l'année dernière loin derrière. Mark Ruffalo, lui, excelle en tant que libertin et bon vivant qui aime les pasteis de nata et le sexe, et qui sombre dans la folie face à l'irrésistible et insaisissable Bella. Les images magnifiques, le monde fantastique et tout un mélange frénétique d'absurdités, de curiosités, de bizarreries, d'humour omniprésent en tous genres, de sexe en tous genres, de voyages, de philosophie, de médecine même dans sa forme la plus perverse font de Pauvres Créatures le meilleur film de Lanthimos. Et en ce qui me concerne, il se hisse dans mon TOP 10 ! ()

Malarkey 

Toutes les critiques de l’utilisateur·trice

anglais Exactly what I expected — another wonderfully weird Greek film that’s not only bizarre but also highly cinematic, especially in its visuals. The way the director tilts the camera felt inspired by Karel Zeman and Wes Anderson. And Emma Stone is absolutely perfect, clearly having the time of her life with this role. Her Oscar is well-deserved. In the end, it’s a major cinematic experience, a film with depth, and a reminder that cinema should always amaze, surprise, and entertain its audience. Despite its epic strangeness (which might be why I’m holding back on that fifth star), Poor Things excels brilliantly. ()

Marigold 

Toutes les critiques de l’utilisateur·trice

anglais Yorgos Lanthimos’s greatest hits (coloured and expressively remixed). At its core, Poor Things is Dogtooth part II with the layout of an emancipation drama. Here we have a similar constellation – father-creator, who tries to protect a woman-child from the dangers of the world and foster in her a pure being, which makes him a god and a tyrant. Here we have a heroine who moves strangely, which reflects the twisted nature of the world and the attempt to free herself from conventions that others have imposed on her. Where Dogtooth ended, however, Poor Things begins. Bella and her journey of initiation through the world are reminiscent of a sexual and social bildungsroman with several stops along the way to discovering that her body belongs to her and her alone. This is a realisation that the heroes and heroines of Lanthimos’s previous films came to only painfully and with difficulty, usually ending in an embarrassing misunderstanding. The clumsy rebellion against convention, the arbitrariness of social rituals, the ego of men who try to remake women in their own image – in Poor Things, these Lanthimos trademarks are made more digestible because the film externalises them and caricatures them to an even greater extent. Nevertheless, it doesn’t sacrifice a certain amount of unpleasantness and the ability to put the viewer on the edge of their seat. I would place Bella and her escapades in schools instead of sex-education classes. Everything essential is there. Unfortunately, I only half believe Yorgos’s inner Zeman/Jeunet. I have always seen him as a brutalist and cinematographer Robbie Ryan as a realist. I find their pastel colouring books to be borderline kitschy – “attract with originality” recklessly overlaps with “make faces in every close-up”. Lanthimos’s originality has always consisted not in any spectacularly eccentric outward presentation, but in creating a picturesque initial situation, twisted realism and working with actors as if they were living marionettes. Of course, the actors are magnificent; I would point out the wonderful cameo by Hanna Schygulla in the role of an old woman who doesn’t shy away from talking about her sexuality. We can interpret Poor Things in various ways and probably every interpretation will have its own vague truth. Personally, I interpret the film as a metaphor for Lanthimos’s work, which began with warped and manipulative experiments on human material in an ugly laboratory and grew into comprehensible and mainstream catharsis in colourful settings. In my heart and soul, I will always have a greater affinity for his older, scarred dystopian freakshows about people dragged along by conventions than for his pathological fairy tales about poor wretches who have become masters of their own bodies and fate. ()

DaViD´82 

Toutes les critiques de l’utilisateur·trice

anglais Karel Zeman for the 21st century, or the emancipation of the Bride of Frankenstein through an original "porn satire" that manages to cut to the quick again and again; sometimes literally. Emma Stone gives such a masterful performance that if I were her husband, I wouldn't be doubly sure if she doesn't top it at home as well. ()

EvilPhoEniX 

Toutes les critiques de l’utilisateur·trice

anglais Fuck you Anatomy of a Fall!! This duel of two European films that have collected awards and received similar enthusiastic ovations is won by Poor Things on all fronts. It can hardly compare to that ungrateful, extremely long and uninteresting, disgustingly cheap and literal copycat The Staircase for jaded bookworms and art nerds of the deepest grain. Poor Things is exceptional in that it satisfies both regular viewers and critics, which happens rarely. Yorgos Lanthimos creates unconventional and interesting films (I liked The Lobster and The Killing of a Sacred Deer), so I went to the cinema prepared, but this guy has matured as a director to the point where he has possibly made the best film of the year right from the start. I have never seen or remember such flawless filmmaking that would excel and dominate in every aspect. Poor Things is formally amazing. A beautiful Steampunk world in the Victorian era with beautifully painted sets (there are some scenes that you will probably want to hang as a painting at home), it has an original idea and a lot of interesting concepts (those animal hybrids are perfect). It also has a very strong cast. Willem Dafoe as the scientist is very smart and impressive, Mark Ruffalo has possibly the best role in his career, and Emma Stone, well, she is absolutely awesome, a sort of a cross between Harley Quinn, an absolutely incredible acting performance, if not the best female performance I have ever seen, she plays Bella brilliantly, I would be surprised if she didn't end up on drugs or in a mental institution after this. As a bonus, there is plenty of dark and cynical humor, where the whole cinema laughed. The humor always managed to liven up the film properly, and Bella's vulgarity and rudeness in society were simply the best. The film won me over almost from the beginning (although at first, I was afraid they were going to show us a black and white version), but once Bella starts traveling the world, it's one big party, with an excellent screenplay, great actors, fantastic cinematography, amazing visuals, humor, dialogues, and it's also appropriately perverse and twisted, as they fuck like crazy here! (The episode in the Parisian brothel with all those creeps and perverts is an absolute gem). I applaud standing up, I cry with enthusiasm, I take off my hat. A masterpiece. Flawless and magnificent! Proper Frankenstein's daughter! :) 10/10. ()

JFL 

Toutes les critiques de l’utilisateur·trice

anglais Poor Things is a tremendously charming and wildly playful cinematic bildungsroman that demolishes gender roles and patriarchal fallacies with unbridled childlike verve, while grandiosely revealing their absurdity. Whereas Barbie was built on a shared sisterly sigh with a smile and remained in the realm of consumerist conformity while glorifying plastic kitsch, Poor Things offers up a lavish and iconoclastic riot grrrl pamphlet with a likable pout. Bella Baxter is a captivating, monstrous role model. Her journey through the world inevitably leads to her coming of age, but not in the sense of abandoning immediacy and committing herself to accepting the lot in life that others have laid out for her. Bella gets to know the world with its painful paradoxes, but she does not let herself be constrained by those around her and can conversely build places of personal freedom within herself and in her immediate surroundings amid all of the social nonsense. The film incorporates all of this into a sort of Art Nouveau ornament that is simultaneously delightfully beautiful and unavoidably bittersweet, as the steampunk stylisation and grotesque derangement constantly highlight its fantastical and thus unrealistic essence. ()

NinadeL 

Toutes les critiques de l’utilisateur·trice

anglais The current hit by Yorgos Lanthimos, nominated for an extraordinary number of awards, is based on Alasdair Gray's book "Poor Things: Episodes from the Early Life of Archibald McCandless M.D., Scottish Public Health Officer" (1992). Gray is often compared to James Joyce, and that is why it is so easy to succumb to the impression of Lanthimos' genius, whose contribution, however, lies only in the combination of Gray's pseudo-Victorian novel with Frankenhooker (1990) by Frank Henenlotter. I perceive many other references, whether it's Freaks or Elephant Man, but the whole is an exceptionally charming pastiche. There is no need to elaborate on the magical performances of Emma Stone, Mark Ruffalo, Willem Dafoe, Hanna Schygulla, and Margaret Qualley because it must have been a joy to work on such a creative film. Mary Shelley would surely be thrilled. ()

D.Moore 

Toutes les critiques de l’utilisateur·trice

anglais It has been a long time since a performance has captivated me as much as Emma Stone's here. I was cautious, because Yorgos Lanthimos's The Favourite didn't impress me as much as the rest of the world five years ago, and yet at least on the surface it seemed like a relatively normal film. Poor Things isn’t like that, it was immensely enjoyable from the opening scene. Victorian surrealism, strange scenes alternating with stranger ones, and gradually everything starts to make sense, but you still have no idea where it's going. I'm sure the film is brimming with all sorts of psychological and philosophical meanings; double, triple and multiple meanings that can be gradually revealed, but aren't necessary. It can stand without them and conveys its message easily to everyone, however bizarre the story and its protagonists are. ()

RUSSELL 

Toutes les critiques de l’utilisateur·trice

anglais Poor Things is an emancipatory odyssey of "Frankenstein's daughter" set in a bizarre steampunk world during the Victorian era. Yorgos Lanthimos, one of the most distinctive filmmakers of our time, has masterfully transitioned his unique style from smaller Greek oddities to major studio films. This time, he's working with a massive budget of $70 million, a significant leap from his previous film, The Favourite, which had a budget of $15 million. Despite this increase in scale, Lanthimos has not compromised his vision. Instead, he continues to attract top-tier actors eager to work with him, pushing their performances to new, often unprecedented, levels. Willem Dafoe is, as always, excellent, but Mark Ruffalo's performance is particularly noteworthy. You can feel how much he enjoys his role, practically stealing every scene he's in — his best work since Zodiac. However, the true standout is Emma Stone. She gives everything to her role as Bella, delivering a performance that's both fearless and all-encompassing. It's undoubtedly the pinnacle of her career so far. And let's not forget — Emma's dance scene is a showstopper, putting Wednesday's moves to shame! ()

Stanislaus 

Toutes les critiques de l’utilisateur·trice

anglais Poor Things doesn't deny the inspiration of “Frankenstein” and it certainly doesn't deny Yorgos Lanthimos' distinctive directorial style, which is unique in contemporary cinema. For two and a quarter hours, we have the amazing opportunity to immerse ourselves in a futuristically conceived Victorian world, in the centre of which is Bella, whose mind is an "unwritten book" in whose pages an emancipatory adventure of unprecedented proportions begins to unfold. Artistically, it is a polished piece of work, where more than one suggestive scene could be displayed in a museum as a treasured painting. Besides the strange camera angles and dreamlike filters, I enjoyed the (un)chaste costumes of Bella and her creations immensely. In terms of acting, I have nothing to fault the film. The driving force of the whole story is of course Emma Stone, who handles her role without any shame, and she is wonderfully seconded by the "Frankenstein" Willem Dafoe and the womanizer Mark Ruffalo, who ends up driven almost crazy by a skirt. It was engaging to watch Bella's mental development: from "baby" steps and a few words, to a physically intense exploration of her own body and sexuality, to a fully aware and confident view of the (twisted) world with a philosophical overlay. Despite its seemingly artsy style, Poor Things has the potential to appeal to a wide audience and is certainly not afraid to grab the patriarchy by the balls and give them a shake. ()

Necrotongue 

Toutes les critiques de l’utilisateur·trice

anglais Quite a bizarre ride. The creators gave us a taste of 19th-century European setting only to shift gears into a spectacle straight out of a Jules Verne film. Surprisingly, I found that if feminist themes are presented in a fun and not overly aggressive way (instead of being forced down my throat like foie gras), I can actually enjoy them. Let's face it, us guys can be real jerks sometimes. The filmmakers nailed it, and I really liked how Bellina's Parisian career was handled. However, I couldn’t stop thinking about the unsettlingly pedophilic vibes from Max McCandless. The film had its oddities, but Emma Stone clearly had a blast with her role. I loved the visuals and dialogue and even found myself laughing at times. So, despite its quirks, I couldn’t rate it below a four. / Lesson learned: You learn something new every day. ()

Ediebalboa 

Toutes les critiques de l’utilisateur·trice

anglais Yorgos Lanthimos for the masses? They'll be showing it in theaters next month, and for my part, I'd love to see it. This Greek weirdo grows with each film he makes, proving that you can easily keep your distinctive signature while opening the gates of the mainstream. Art-wise, his latest release looks like an absolutely polished gem, helmed by Emma Stone, who here outdoes all her previous roles with her transformation from Bella as a toddler into a socially conscious woman. Whether it's her walk, her thoughts, her facial expressions or her physical quirks, she never leaves you in any doubt as to what mental stage she's in, and with only a wannabe adult Mark Ruffalo to back her up, there's no shortage of bizarre moments. At times the slapstick was traditionally too much for me from Yorgos, but I'd be lying if I said I wasn't royally entertained for most of the running time. ()