66-5
Under the direction of Anne Landois (Transmission), This new original creation from Canal continues the tradition of modernized French fiction: raw, with an almost documentary fidelity, but heavily dependent on the cop-thug duo without whom nothing seems to exist. Roxane, who is promised a great future in a Parisian company, finds her life thrown into disarray when her husband is accused of rape. To maintain an activity, she turns to the Bobigny bar and the city from which she fled. Beyond the plot with twists and turns surrounding a large shipment of coke, we retain the strangeness of this lawyer, as generous as she is consumed by ambition, and the painting of a suburb brighter, greener and more human than the usual fortresses of her Romain Gavras-style concrete. MC
66-5 on Canal+. From September 18th.
The changeling
Winding, almost twisted, in the shape of its story and its enigmatic detours, The changeling wants to be in the league of big series that make people think (Twin Peaks, Lost, The OA). The risk is to frustrate too soon by hiding the clues and, above all, to disappoint when you reveal the depths of your mystery, which is based on child murder, disappearances, ghosts and witchcraft. It refers to the novel of the same name, which it adapts and whose author (Victor LaValle) takes over the narration. The changeling However, the film impresses with the ease with which it can slide from one genre to another (fairy tale, fable, horror) and with its pair of actors, Lakeith Stanfield and Clark Backo, who fascinate with their fascinating way of oscillating between triviality and madness . OIL
The changeling, Available on Apple TV+.
Happy Hank
Lucky Hank is a production for serial bingers. An object based on the special bond that the audience develops with a character, an actor or a voice after knowing them for years. Created by Aaron Zelman and Paul Lieberstein (sad Toby from The office) and directed by Peter Farrelly, Happy Hank exists solely to enable Bob Odenkirk to deliver ironic and piquant monologues with the same vicious roundness as in Better call Saul. Odenkirk plays a literature teacher who is in misfortune and aware of the insignificance of the lessons he teaches to average students at a second-rate university. As the discourse about the peculiarities of the American academic system largely dissolves in export, this dramatic comedy about mediocrity paints, above all, another portrait of a white man in his mid-fifties in crisis, turning childhood trauma into a morgue that can no longer protect him. MC
