It is an unprecedented and successful meeting between a master of Japanese manga and a brilliant representative of French excellence in animation cinema. The Summit of the Gods is the adaptation by Patrick Imbert, Ernest and Celestine, The big bad fox, from the cult comic book of Jirō Taniguchi.
“A climber came to our studios with all his equipment, he hung on the balcony and we took a picture of him from all angles!”
That first of a photoreporter specialist in the mountains, who sets out to attack Everest, convinced that he will find the trail of the first climbers to the top of the world, which would upset the official hierarchy of these mountaineers outside standard.
But it is also an intimate, obsessive quest, made up of tragic episodes and questions about the real motivations for fighting in the face of the immensity of nature. Patrick Imbert follows Taniguchi’s narrative power, but frees himself from his drawing. His images between realism and dreamlike are his, far from the manga style. A titanic work, the director consulted specialists and, like them, was relentless as for the last scene, at high altitude.
The film Everything went well hits theaters, as the end-of-life debate returns to the news, without the lines really moving. Two years later Thanks to God who tackled head-on a case of pedocriminality in the Catholic Church, François Ozon takes up a societal subject, but is careful here not to give his point of view.
“François Ozon didn’t want pathos, he didn’t want the film to be tearful.”
Everything went well is an adaptation of the autobiographical account of her friend Emmanuelle Bernheim, whose father, who suffered a stroke, asked his daughters to help him die. Sophie Marceau and Geraldine Pailhas interpret the daughters of this very egocentric man who was not, far from it, a perfect father. The film is classic but gives André Dussolier in the lead role a new opportunity to shine on the screen.
Giovanni Aloi’s film focuses on these soldiers whose presence has become customary in our cities. Anthony Bajon is a young soldier from Operation Sentinel who is on his first mission in Paris, which he discovers during these patrols, the relevance of which is questioned in this film. There is a feeling of paranoia in this story in the face of an invisible enemy that sometimes clumsily illustrates the current climate.