Marc-Aurèle Garreau

journaliste/critique cinéma

[Marc-Aurèle Garreau @MarKOG_]

Un si bon film tellement oublié 🔥

[𝑮𝑹𝑹𝑳 @GRRLmusic]

real af

[Marc-Aurèle Garreau @MarKOG_]

J’espère que tout le monde a bien capté que « Histoires de la nuit » (2026) est la suite de « Truands » (2007) et poursuit l’histoire de Franck (Magimel le goat)

[Marc-Aurèle Garreau @MarKOG_]

Exactly

[david ehrlich @davidehrlich]

Paper Tiger: Adam Driver gives the best performance of his career in James Gray’s devastating tragedy in a teapot about two brothers who get mixed up with the mob. An incredible, thrilling film, and a big gift for We Own the Night heads

My #cannes review: https://t.co/vH11Jj9j0f

[Marc-Aurèle Garreau @MarKOG_]

🔥🔥🔥

[Les Films du Losange @films_dulosange]

LES ROCHES ROUGES de Bruno Dumont
bientôt à la @Quinzaine des Cinéastes
et au cinéma le 23 septembre ❤️

#Cannes2026 #CannesFilmFestival
#Quinzaine2026 #QuinzainedesCineastes

[Marc-Aurèle Garreau @MarKOG_]

DestinationJuan

[Juan Branco ✊ @anatolium]

Nous vivons dans un pays qui a accordé 3,2 millions d'euros à un film dont le "pitch" est le suivant:

Un homme tombe amoureux d'une poupée gonflable.

Il la présente à sa famille.

Et cette poupée gonflable devient une véritable femme.

Il y a des auteurs, des producteurs, des cadres de chaines de télévision, des membres de comités du CNC, qui ont décidé d'écrire ce scénario, de décider qu'il méritait d'être produit, financé, réalisé, joué et diffusé, et qui se sont répartis des millions d'euros pour y procéder.

Il y a des festivals (seulement Français, vous l'imaginez bien) qui ont décidé de le sélectionner.

Un distribueur qui a accepté de le diffuser.

Des salles qui se sont engagées à le montrer.

Aucun d'entre eux n'a pris le moindre risque, et tous en ont tiré de confortables marges avant même que le film soit diffusé.

Aucun n'a le moindre talent, n'a démontré la moindre capacité à se prétendre artiste, et à se voir ainsi financé.

Un premier film, qui permet à sa réalisatrice d'en tirer plus de 100.000 euros de revenus, joué par des acteurs sans charisme ni incarnation, dont une grande partie doivent leur parcours à leurs parentalités, a passé tous les filtres à partir de cette "idée":

un homme présente une poupée gonflable à sa famille, avant qu'elle ne se transubstantie et devienne réalité.

Un film qui ne dit rien de rien, si ce n'est du degré monstrueux de corruption et d'entre soi dans lequel notre société, et son petit Paris, sont plongés.

3,2 millions d'euros.

Que l'on ne s'étonne pas qu'il y ait en France des millions de personnes qui aspirent à voir leurs classes dominantes dévastés.

Que l'on ne s'étonne pas que la France ne dise plus rien au monde, et ne puisse plus y peser.

Que tous ces êtres ne viennent pas se plaindre des monstres qu'ils auront enfantés, et de la haine qui ne cesse de monter.

[Marc-Aurèle Garreau @MarKOG_]

Parfaitement vrai et il n’y aura jamais assez d’articles/émissions pour dénoncer et s’opposer à l’entreprise de destruction massive de la culture dirigée par Bolloré. Combien, lui, fait-il produire d’articles/émissions à cette fin ? Une bataille après l’autre, menées pied à pied

[Laurent Binet @LaurentBinetH]

Ça crève les yeux que Bolloré est une menace pour le pluralisme et toute la vie culturelle d’un pays entier mais certains préfèrent ne voir dans l’affaire Grasset qu’une simple péripétie à Saint Germain. 🤷🏻‍♂️

[Variety @Variety]

Pedro Almodóvar is wondering whether or not Jacob Elordi is a "respected actor" or just a "sex symbol" and says: "We need to see him — or at least I do — in another role that demands more of him."

https://t.co/i3xkNIVmIV

[Marc-Aurèle Garreau @MarKOG_]

Plus ou moins tous les épisodes de The Wire

[Netflix France @NetflixFR]

L’épisode d’une série qui a changé votre vie ?

[Marc-Aurèle Garreau @MarKOG_]

On ne le dira jamais assez mais allez voir Silent Friend, tout simplement un des plus beaux films de l’histoire récente 🔥

[Philippe Rouyer @philippe_rouyer]

Pas de @CercleCanalplus ce samedi. Mais avant de nous retrouver la semaine prochaine, vous pouvez revoir la dernière émission sur l’appli @canalplus et choisir vos sorties cinéma en fonction des étoiles des chroniqueurs

[Philippe Rouyer @philippe_rouyer]

Toujours à l’affiche «Silent Friend» est le film à voir au cinéma ces jours-ci. Pour vous motiver, je vous en présente un extrait dans le @CercleCanalplus sur @canalplus @KMBOcinema

[Philippe Rouyer @philippe_rouyer]

Grande célébration de «Silent Friend» dans @RevuePositif. Avec la couverture un long entretien et carrément un dossier de 25 pages sur Ildikó Enyedi, la réalisatrice de cette grande odyssée dont un vénérable Gingko est le héros

[Marc-Aurèle Garreau @MarKOG_]

E que s’apelerio « France riche »

[Antton Rouget @AnttonRouget]

Le milliardaire Bernard Arnault, qui se présente comme un «patriote» fiscal, s’est offert un nouveau mégayacht par le biais d’une discrète société à Malte, révèle @Mediapart. Plus long que celui de Jeff Bezos, sa valeur dépasse les 500 millions €.👇

https://t.co/VeM46KgA9n

[Deadline @DEADLINE]

Tahar Rahim Talks "Fantastic" Collaboration With Matt Charman For Sky Thriller 'Prisoner', Choosing Roles "Rooted In Truth" & Importance Of Having "A Seat At The Artistic Table" https://t.co/FP3IgoAEaB

[Marc-Aurèle Garreau @MarKOG_]

La pression infinie que se prend le chef-op de Quotidien 😅

[Film Crave @_filmcrave]

Zendaya and Robert Pattinson are set to appear on the french tv show with good lighting for ‘THE DRAMA’ on March 25.

[Film Crave @_filmcrave]

Alice Rohrwacher’s ‘THREE INCESTUOUS SISTERS’ is set to begin filming on April 27. 🎬

Starring Dakota Johnson, Saoirse Ronan, Jessie Buckley and Josh O’Connor.

[Première Projo @premiereprojo]

CONCOURS

Gagne une place pour l’avant-première mondiale du film THE DRAMA au Pathé Palace le 24 mars, en présence de Zendaya, Robert Pattinson et Kristoffer Borgli !

Pour participer
→ Suivre @premiereprojo et @Metropolitan_Fr
→ RT et like ce post

Tirage au sort le 20/03 !

[Marc-Aurèle Garreau @MarKOG_]

👌

[Film Updates @FilmUpdates]

The official trailer for Martin McDonagh’s ‘WILD HORSE NINE’ has been released.

Starring John Malkovich, Sam Rockwell, Steve Buscemi, Mariana di Girólamo, Ailín Salas, Tom Waits and Parker Posey.

In theaters this fall.

[Marc-Aurèle Garreau @MarKOG_]

Tellement hâte

[Film Updates @FilmUpdates]

The official trailer for Steven Spielberg’s ‘DISCLOSURE DAY’ has been released.

In theaters June 12.

[Ashley Werhun @awerhun]

The "outrage" is overblown and honestly a concerning sign of self awareness in the industry.

I had a professional ballet career for 12 years and trained at professional ballet schools since I was 11. I'm part of the 1% who had a successful dance career. Now that I'm in tech and have experience growing a company, I am on the board of ballet companies.

Of course, all of this comes from a place that I think dance is fundamental to self actualization and a very worthy pursuit, and I admire all professionals who do it. I think if more of the world saw it regularly we would actually internalize what "taste" means and heal our realtionships to our physical selves.

Here's my take on the @RealChalamet X @McConaughey discussion:

1) Media literacy matters. The outrage over that clip completely misses the point because people watched a clip not the full conversation. Ballet here was being used as an example of an under commercialized art form. He was talking about the fact that actors go on media shows making the moral plea of “movie theater experiences should exist!!!” but he said in a world where some people want to be entertained differently- that’s okay too and it usualy makes more money. He sits in the middle. He said ballet has to do the same (beg), which is true. A lot of ballet fundraising events are literally themed “save the ballet.” I've seen this done in a different empowered way, but If you act like a dying art form, it will go ahead and prove you right.

The real discussion in this convo was about shrinking attention spans, how art adapts to cultural shifts, and the tension between resisting change versus evolving with audiences. A harder question the arts world should ask is: why have people seen 1,000 movies but maybe 1 ballet? Getting angry about the reality of film versus ballet budgets doesn’t grow audiences. Being honest about the landscape might. If we want the art form to survive, we have to engage with that reality.

2)Ballet companies- not as an entire industry but each company individually, have to decide what they want to be. On one side, ballet is a very elite form in which you want to attract the top earning percentile who can afford tickets to your shows (tickets are about 100 to start). Then there’s another set of companies that are more accessible, like Trey McIntyre’s work,or Ballets Jazz de Montreal where it’s done to more pop culture music (BJM did a work to Leonard Cohen that sells out every show), which really invites a super broad audience base and has decided it wants to be that way for those works.

There’s not one solution for the ballet world at large, but each company needs to have a growth strategy or a marketing strategy that fits the work itself. Right now I’m on the board of a company where the work is very abstract. It’s going to have a very niche audience. So we have gone to those niche areas. We were one of the only dance forms at the Biennale in Venice, and now the choreographer has been named one of the Chanel artists of the year. Chanel fashion brands are looking for obscure, deep thinkers, so that fits well.

I don’t think the overall narrative of “make it more accessible” works for everyone. I think you have to have a growth strategy that matches the work.

3) Ballet dancers need to be aware of general business models before making outrageous salary claims. I remember being a very young dancer and I was chatting with a friend in business, and I whined "Ballet dancers should be paid the same as professional athletes- its just as hard! .” And he said, “Well, you don’t have the NBA’s type of revenue to support those kinds of salaries. Why would dancers be paid that? Your companies don’t produce that kind of revenue.” It was my first introduction to a realworld understanding of business models. Of course, a lot of artists are not concerned with business models, which is fine. I actually think an artist brain and creative sense should sometimes stay detached from it because it makes you feel more creative and less limited by financial limits. But if you are going to have huge opinions and qualms about an industry, you have to understand how much the company brings in on the top line, even if it’s a nonprofit.

4) I think ballet and dance in general are extremely gatekeeping industries in their approach to digital marketing and what they release. They generally only allow you to see the art in person for a $100+ a ticket. There’s a lot of thinking around scarcity - the idea that if you release a full ballet online, it will get copied. But you have to understand that there are tiers to people who can afford art, just like there are tiers to people who can afford sport, and tiers to people who can afford Beyoncé tickets.

Some people will stream it on Spotify. Some people will watch it on Netflix. And some people will spend $500 to see it in person. Dance should build out different accessibility tiers or different tiers of distribution. Those are my thoughts.

I sort of live in the in-between of now being a private industry, capitalist thnker but also having a deep understanding of the ballet world.

Hopefully this is critical thinking enough so it’s not just “wow, wow, wow, someone said we have a dying industry, this messed up.” It is okay to recognize an industry is small but that you would like to improve it. It’s not helpful to just be mad at someone for saying something.

He’s aware of what he’s saying. He has dancers in his family. He knows its a small audience compared to the size of a film audience.

#ballet