France

Scattered, unfocused satire(?) is difficult to pin down, but in an unsatisfactory way; its points about media superficiality and manipulation are as shallow as you would find on France’s current affairs show; perhaps an irony in of itself, but if so, it’s not a clever or thoughtful one. Comes to life in the mid-section with Seydoux and Arioli, but the calamities in the final act arrive from nowhere and therefore lack resonance. Seydoux’s magnificent, luminescent performance makes it worthwhile.

the way it plays with the idea of fiction is intriguing but doing so in the guise of a media satire doesn't quite work because the film quickly turns into a parody of media dramas rather than a satire. this, in turn, brings another layer to the blurry nature of fiction & reality but the story and the way it is told are not compelling enough to fill all these layers. the film lacks the emotional intelligence required to deliver on its promises.

Viewed February 23, 2022. Bruno Dumont’s film about a popular news anchor plagued by scandal is not exactly a satire of the media as one would glean from its humorous opening scene, but rather an electrifying, uncommonly perceptive portrait of the effect of being a figure in the media — an image and an idea — on the human psyche.

Dumont's France is a chore to watch; from the lingering reaction shots to the music choices, the film feels half an hour too long. The humour in the opening scene featuring spliced footage of Macron was vastly different than the film that followed. The characters are messy and every tragedy that happens to the titular character is contrived; though perhaps that's the idea. By the film's end France accepts the cycle of fall and relaunch, but it's not a satisfying arc. The acting is just okay.

One of Dumont's most disturbing, disquieting, weird provocations. France, the character, seems the perfect avatar for France's, the country, turmoil. It's all about living the now, the images of now, as long as she is the star -- from war coverage of war on jihadists to a unprecedent report on refugees; even a story about abuse is mostly about her reactions, her say, her look on it. A brilliant farce on journalism's impossilibity of creating pure images -- both staged and real.

Nope, too much...

kkkkk, em algum momento se perde um pouco, mas o início é genial