More than once, the exegetes of Luc Besson have seen in his achievements and productions the mark of an author, whose existence would leave a singular imprint on the creations. The big Blue would therefore be the quest for a man apart towards overcoming, Leon would be the not-so-distant echo of her relationship with the future director Maïwenn, and the fetishized female figures that populate her works are so many testimonies of a very particular relationship with women.
Starting from this principle to understand Arthur, Curse is of some interest : give some semblance of meaning to the mucous bubo which unfolds on Wednesday, June 29, 2022 in dark rooms.
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In this film, a gang of teenagers from an alternate reality (in which Arthur and the Minimoys are fond memories for an entire generation) take one of them on a surprise weekend on the abandoned set of the film. Unfortunately, the place has fallen into the hands of mysterious creatures, more into ritual murder than interior design. Either a hasty and murderous rereading of one of the biggest productions of Europacorp, spearhead of the Besson armada.
Ultimately it doesn’t matter thatArthur, curse stands out as one of the most abstruse, ugly, vulgar, contemptuous and despicable films discovered on a long-time screen. The result does not deserve the relentlessness of anyone, as it turns out in all areas and aspects of cinema an indisputable renunciation. It constitutes, if not a source of curiosity, at the very least an event remarkable for its sacrificial and kamikaze dimension. Everything, everything, everything is over between us, whispers the producer.
Gore me by your name
GRADUR AND THE MINIMERDES
Let’s burst the abscess. If the film is officially directed by Barthélémy Grossman, the absolute chaos that governs both its writing and its cutting makes the version that the technician had control of the company hardly believable. Whether he was sent to the project as an executioner or Luc Besson himself decided to burn his vessels in an artistic suicide, The result is the same. As if to tell us better that he is done with the semblance of requirement that was once his, the mogul of yesterday unravels each of his trademarks.
Director in love with technique, capable of innovating and holding the dragee high in American cinema? Here is a hodgepodge of medium shots, doped with false connections, lit despite common sense, where both the camera and the editing constantly betray a pyromaniac improvisation. Author concerned with the general public, in contact with a youth in need of entertaining creations and addressing them directly? Rarely have we seen such an alignment of dirty clichés, from the black incapable of expressing himself in French, to the monomaniac and stinking “geek”, passing by the candid virgin, promised to fertilize the peripate-princess, a devilish Bessonnian concept, embodied here by the daughter of the producer.
Get Out, Jordan Peele, 2017
Everything, even in the qualities of producer of Besson, a time pioneer of genius, even inspired distributor, is here dedicated to the stake. Finally, Arthur, Curse carries the detestation of his heritage in its title, which suddenly looks like a confession, to better throw it at the viewer in favor of a final sequence whose poverty could be a landmark.
We will learn the origin of the small burps of violence enameling the story, revealed by a policeman bravely struggling with a stroke. “A film can do damage”, he slips sagely. As if the ex-pope of French cinema, after several decades of reign, disdainfully regurgitated the last crumbs of an empire swept away by bides and scandals.