The Minions 2, The Sadness, Peter von Kant… the theatrical releases of July 6th

Minions 2: Once upon a time Gru, The Sadness, Peter von Kant… what are the theatrical release dates for the week of June 29, 2022?

Each week, Ecran Large makes its market in cinemas, picking out some must-see releases and films (for good or bad reasons). With unbearable yellow bugs, the trashiest movie of the year, from the great Denis Ménochet, artificial intelligence and old Alain Delon.



Peter von Kant

Duration: 1h25

Why is : A great filmmaker by inspiration, Peter von Kant falls madly in love with Amir, a mysterious young man. The beginning of a destructive relationship where the power switches sides

Why you have to see it : In one of his first films Drops of water on hot stones, François Ozon staged his love for German director Rainer Werner Fassbinder by adapting one of his unpublished plays. 21 films and 24 years later, he goes even further to directly confront his master: He continues Petra von Kant’s Bitter Tearsa play Fassbinder had adapted for the cinema himself, rewriting the roles and alluding to Hanna Schygulla, his favorite actress from the 1972 film.

In Ozon, Petra becomes Peter, the world of fashion gives way to that of the cinema, the roles of man and woman are sometimes reversed. Beyond cinephile and aesthetic pleasure, with a retro-pop-queer vibe that evokes the filmmaker’s finest hours (8 women), Peter von Kant is at the top of the French director’s filmography list. And then there is Denis Ménochet, immense, pompous and crazywhich alone is reason enough to watch this tragi-comic circus about the terrible laws of desire.

The widescreen touch : 3/5

Our review of Peter von Kant


Duration: 1h40

Why is : From a virus that amplifies unhealthy impulses and transforms a horde of exemplary citizens into beasts hungry for blood, guts and buttocks. Amidst the chaos, a couple will try to find each other.

Why you have to see it : Because it is one of the meanest things we’ve seen on screen in a long time. As the title doesn’t say Sadness is a pure horror shoot somewhere between the comics crossed (for the concept) and Hong Kong Category III (for the sometimes funny, sometimes nihilistic ferocity), a piece of gory bravery that will impress even the most graphic exploit cinema regulars.

With a flattering reputation, therefore, it stands out from the dozens of trashy B-series that swarm festival screens each year, and never takes refuge in swindle. While brimming with black humor, it doesn’t do any favors and there’s no doubt that the mad smiles of the infected about to dismember their neighbor outdoors (or on the subway…) will get you a few days later will track . In short, ideal for a family outing.

The widescreen cue: 4/5

After Yang

Duration: 1h36

Why is : In the near future, a family must grapple with issues of love, relationship, and grief after their artificial intelligence assistant suddenly goes haywire.

Why you have to see it : Because science fiction, a genre seemingly embraced by Hollywood blockbusters, often loses its soul by putting on a show. Because orchestrating space battles or intoxicating yourself with cosmic landscapes is not enough to embody all the riches of this genre on its own. In fact, it’s over first the richness of his concepts, through the power of ideas what she confronts us with, that the SF has established itself as an independent school, whose After Yang stands out as one of the most worthy representatives.

Rather than taking his story from a similar technological angle, Kogonada prefers to examine the implications of profound technological innovations in our daily lives. Here the android is no stupid existential threat, no cruel antagonist. No, it’s a form of otherness, partially digested by society, that society has yet to think about. And rightly so How does living with artificial consciousnesses affect the functioning of a family? The filmmaker pursues these questions with a staging that is as warm as it is surgical, accompanied by a quartet of exceptional actors who work with him to create one of the most exciting SF proposals of recent years.

The widescreen touch : 4/5


Minions 2: Once Upon a Time Gru

Duration: 1h28

Why is : With the ’70s in full swing, Gru, who had grown up in the suburbs amid flared jeans and flowered hair, hatched a Machiavellian plan to bring about the incorporation of a famous group of supervillains known as the Vicious 6, whose biggest fan he is.

Why you have to see it : For some people, minions 2 will be an hour and a half of non-stop laughter at the Minions’ goofy side and hilarious voice acting from Michelle Yeoh and Steve Carell. For others it will be the allegory of the total emptiness of Hollywood recycling its phenomena until it thirsts no more, even if it means under-exploiting the potential of animation studios.

Unfortunately, we belong to the second category, which sees an alleged script failure in the film to serve up a shovelful of gags, the best of which are the ones that don’t appeal to those disgusting yellow creatures, but on the contrary, Illumination studios’ ability to come up with wacky character design. One thing is certain, Box office success will be total, and there will be sequelsenough to give those who would someday like to see the Rabbids a new definition of what’s called yellow fever.

The widescreen note : 1.5/5, an aspirin and a playlist made entirely of disco.


Mr Small

Duration: 2h03

Mr Klein : Photo Alain Delon

A very discreet antihero

Why is : In Paris 1942 under occupation, Robert Klein takes advantage of the plight of the Jewish population. He learns that there is a namesake, a Jew, who is wanted by the authorities. They are now also interested in the merchant Mr. Klein.

Why you have to see it : As an American director, inspired by the powerful documentary sorrow and pityinvestigates the collaborative France the support of the legendary Alain Delon, the result has everything from the monument. Or how an insensitive and pushy man, more of a cold-blooded profiteer than a ruthless anti-Semite, discovers the reality of his interests upon which his success rests, and begins a gradual descent into hell.

Tale with the scalpel, relentless study of a belated consciousness, Mr Small Worth at least as much for its impressive reconstruction as for the stifling production by Joseph Losey. At the pinnacle of intimate tragedy and film noir, this tale forms a dark labyrinth that, regrettably, would not be rediscovered in this re-release.

The widescreen note : 5/5

Leave a Comment