{"id":4850,"date":"2025-12-06T09:32:26","date_gmt":"2025-12-06T08:32:26","guid":{"rendered":"https:\/\/cineclubbedarieux.fr\/?p=4850"},"modified":"2026-05-06T10:00:03","modified_gmt":"2026-05-06T08:00:03","slug":"le-havre-lundi-4-mai-18h15-et-20h30","status":"publish","type":"post","link":"https:\/\/cineclubbedarieux.fr\/index.php\/2025\/12\/06\/le-havre-lundi-4-mai-18h15-et-20h30\/","title":{"rendered":"\u00ab\u00a0Le Havre\u00a0\u00bb lundi 4 mai 18h15 et 20h30"},"content":{"rendered":"\n

Aki Kaurism\u00e4ki<\/a> (2011)|Finlande, France 1h33 Avec: Andr\u00e9 Wilms<\/a>, Kati Outinen<\/a>, Jean-Pierre Darroussin<\/a><\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

Marcel Marx, ex-\u00e9crivain s’est exil\u00e9 au Havre il rencontre d\u2019Idrissa, un enfant africain traqu\u00e9 par la police, il d\u00e9cide de l’aider.<\/strong><\/p>\n\n\n\n

Une ode \u00e0 la libert\u00e9 et \u00e0 la solidarit\u00e9 aussi tendre que dr\u00f4le<\/strong><\/p>\n\n\n

\n
\"\"
\u00a9 Pyramide Distribution.<\/figcaption><\/figure>\n<\/div>\n\n\n

<\/p>\n\n\n\n

J’<\/em>ai voulu filmer<\/a> la fin d’un monde, capter<\/a> une atmosph\u00e8re qui va dispara\u00eetre<\/a>, celle des petits caf\u00e9s comme on n’en fait plus, des petites \u00e9piceries, tout un monde de proximit\u00e9, de rapports humains directs et chaleureux<\/strong>.\u00a0\u00bb<\/em><\/p>\n\n\n\n

Il filme donc un Havre \u00ab\u00a0qui ne sera bient\u00f4t plus et qui semble d\u00e9j\u00e0 r\u00e9volu\u00a0\u00bb<\/em>. Le film joue d’ailleurs sur des effets d’anachronisme en m\u00e9langeant les temps. Si le sujet du film \u2013 l’\u00e9migration \u2013 est actuel, il prend place dans un univers qui semble appartenir<\/a> \u00e0 d’autres \u00e9poques avec les chansons de Damia qui bercent le film, la ressemblance de certains personnages avec ceux des films de Carn\u00e9, le baraquement ouvrier du h\u00e9ros et sa d\u00e9coration aussi d\u00e9su\u00e8te que son m\u00e9tier de cireur de chaussures\u2026 Dans ce conte nostalgique, tout semble d\u00e9licieusement surann\u00e9. M\u00eame l’humanisme du r\u00e9alisateur : \u00ab\u00a0Je suis de plus en plus pessimiste, je ne crois pas que les choses vont <\/em>changer<\/em><\/a> dans le bon sens. Du coup, je pense que le cin\u00e9ma peut <\/em>\u00eatre<\/em><\/a> au moins une \u00e9chappatoire, \u00e0 d\u00e9faut de <\/em>pouvoir<\/em><\/a>changer<\/em><\/a> les choses.\u00a0\u00bb<\/em> Inutile d’en rajouter<\/a>, en somme. Autant essayer<\/a> de r\u00e9-enchanter un peu ce monde par \u00ab\u00a0un cin\u00e9ma qui met en avant les valeurs de solidarit\u00e9, comme un contrepoint \u00e0 une r\u00e9alit\u00e9 trop sombre\u00a0\u00bb<\/em>. <\/strong>Le Monde<\/p>\n\n\n\n

Kaurismaki laisse entendre que la France qu\u2019il conna\u00eet et habite en imagination est une France de cin\u00e9ma.
C\u2019est un pays o\u00f9 les inspecteurs portent imperm\u00e9able, chapeau et gants noirs comme dans les films de Melville ; o\u00f9 les femmes s\u2019appellent Arletty et les hommes Becker ; o\u00f9 l\u2019on boit des ballons de blanc et des calvas sur le zinc comme chez Grangier ; o\u00f9 l\u2019\u00e9picier pousse une charrette des quatre saisons sortie tout droit d\u2019un sc\u00e9nario de Pr\u00e9vert ou d\u2019un film de Feyder. Bref, c\u2019est une
France d\u00e9bonnaire et pleine d\u2019humanit\u00e9 dont l\u2019art de Kaurism\u00e4ki consiste \u00e0 nous demander ce que nous en avons fait, et, d\u2019une certaine mani\u00e8re, si nous ne lui avons pas tourn\u00e9 le dos. \u00bb
Pascal Bin\u00e9truy<\/strong>, Positif,<\/p>\n\n\n\n

Le r\u00e9alisateur<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

N\u00e9 en 1957 \u00e0 Orimattila (Finlande), Aki Kaurism\u00e4ki se forme au journalisme, puis exerce une vari\u00e9t\u00e9 de m\u00e9tiers, dont ceux d\u2019ouvrier du b\u00e2timent, de facteur et de critique de films. Autodidacte et admirateur de la Nouvelle Vague, le d\u00e9but de sa carri\u00e8re cin\u00e9matographique est marqu\u00e9e par sa collaboration avec son fr\u00e8re Mika<\/a>. Ils co-r\u00e9alisent plusieurs courts m\u00e9trages et un documentaire, <\/em><\/p>\n\n\n\n

Suivra son premier long m\u00e9trage de fiction, une adaptation remarqu\u00e9e d’un roman de Dosto\u00efevski : Crime et Ch\u00e2timent (1983). Ses films commencent \u00e0 attirer l’attention dans les festivals, notamment le loufoque et musical Leningrad Cowboys GoAmerica (1989), qui conna\u00eetra une suite, Les Leningrad Cowboys rencontrent Mo\u00efse (1994). En parall\u00e8le, il d\u00e9veloppe une \u00ab\u00a0trilogie du prol\u00e9tariat\u00a0\u00bb compos\u00e9e de Shadows in Paradise (1986), Ariel (1988) et La Fille aux allumettes (1990) o\u00f9 jouent ses deux acteurs pr\u00e9f\u00e9r\u00e9s Matti Pellonp\u00e4\u00e4 et Kati Outinen qui lui ouvrira une large reconnaissance internationale. Il s\u2019attachera dans toutes ses \u0153uvres \u00e0 filmer les marginaux car, dit-il, \u00ab\u00a0je ne vois pas de diff\u00e9rence entre raconter la vie d\u2019artistes \u00ab\u00a0maudits\u00a0\u00bb et raconter celles d\u2019un \u00e9boueur ou d\u2019une ouvri\u00e8re\u00a0\u00bb.<\/em><\/p>\n\n\n\n

De films en films, Aki Kaurism\u00e4ki invente des fables du temps pr\u00e9sent, qui soulignent la part d\u2019absurdit\u00e9 et de cruaut\u00e9 de notre monde sans jamais se d\u00e9partir de leur g\u00e9n\u00e9rosit\u00e9 et de leur sens de la d\u00e9rision. Il tourne ensuite J’ai engag\u00e9 un tueur (1990) avec Jean-Pierre L\u00e9aud qu’il admire depuis toujours, puis Au loin s\u2019en vont les nuages obtient le Prix oecum\u00e9nique au Festival de Cannes 1996.<\/em><\/p>\n\n\n\n

Aki Kaurism\u00e4ki adapte l’op\u00e9ra La Boh\u00e8me avec La Vie de boh\u00e8me tourn\u00e9 \u00e0 Paris en noir et blanc puis r\u00e9alise en 1999, un remake muet du classique du cin\u00e9ma finlandais Juha. Au Festival de Cannes 2002, son film L’Homme sans pass\u00e9 re\u00e7oit le Grand Prix du Jury et le Prix d’interpr\u00e9tation f\u00e9minine pour Kati Outinen. En 2011, il tourne en France Le Havre. Le film est s\u00e9lectionn\u00e9 en comp\u00e9tition officielle au Festival de Cannes o\u00f9 il re\u00e7oit le Prix de la critique internationale (FIPRESCI), puis le Prix Louis-Delluc en 2011.<\/em><\/p>\n\n\n\n

Suivra le deuxi\u00e8me volet de sa \u00ab\u00a0trilogie des migrants\u00a0\u00bb, L’Autre C\u00f4t\u00e9 de l’espoir, r\u00e9compens\u00e9 de l\u2019Ours d’argent de la meilleure r\u00e9alisation \u00e0 la Berlinale 2017. Le cin\u00e9aste annonce n\u00e9anmoins qu’il n’ach\u00e8vera pas sa trilogie et il prend sa retraite apr\u00e8s ce film. Il en sort pour tourner Les Feuilles mortes, une tragi-com\u00e9die qui compl\u00e8te sa \u00ab\u00a0trilogie du prol\u00e9tariat\u00a0\u00bb. Le film re\u00e7oit le Prix du Jury au Festival de Cannes 2023 et le Prix de la critique internationale. Source <\/em>: Krysalide Diffusion<\/a><\/p>\n\n\n\n

L’interview<\/strong><\/p>\n\n\n\n

Pensez-vous que vos films soient \u00ab politiques \u00bb ?<\/strong><\/p>\n\n\n\n

Vous pouvez faire des films politiques mais c\u2019est ennuyeux. L\u2019id\u00e9e m\u00eame de faire un film politique est vou\u00e9e \u00e0 l\u2019\u00e9chec. Les gens vont voir des films pour sortir de la r\u00e9alit\u00e9. Il ne veulent pas la rencontrer au cin\u00e9ma. Dans mes films, il n\u2019y a pas de messages politiques, tout du moins, j\u2019esp\u00e8re qu\u2019il n\u2019y en a pas. Sauf peut-\u00eatre celui-ci : \u00ab Tuez le Capital ! \u00bb. C\u2019est sans espoir<\/p>\n\n\n\n

<\/p>\n\n\n\n

Les personnages de vos films semblent perdus, ils ont l\u2019air de se demander en permanence : \u00ab dois-je rester ou dois-je partir ? \u00bb. Serait-ce un sympt\u00f4me du pr\u00e9sent ?<\/strong><\/p>\n\n\n\n

Mes personnages ne sont pas perdus, c\u2019est le reste du monde qui est perdu. Fondamentalement, ils ne savent pas o\u00f9 aller. C\u2019est \u00e7a, le probl\u00e8me. Ils veulent aller quelque part et ils veulent rester, ils ne savent pas quoi faire. Ils ne sont pas \u00e0 l\u2019aise o\u00f9 qu\u2019ils soient. Ce sont des personnages plut\u00f4t autobiographiques.<\/p>\n\n\n\n

La question est compliqu\u00e9e parce que mes personnages ont un certain inconfort qui est de facto<\/em> dans mon sang, mais je ne fait pas des autoportraits pour autant. J\u2019essaie de d\u00e9crire les gens mais mon propre inconfort se retrouve dans les personnages. Parce que j\u2019ai toujours aim\u00e9 partir mais, je ne sais pas o\u00f9, sauf dans ma tombe. Il n\u2019y a qu\u2019au Japon o\u00f9 je me sens \u00e0 peu pr\u00e8s bien.<\/p>\n","protected":false},"excerpt":{"rendered":"

Aki Kaurism\u00e4ki (2011)|Finlande, France 1h33 Avec: Andr\u00e9 Wilms, Kati Outinen, Jean-Pierre Darroussin Marcel Marx, ex-\u00e9crivain s’est exil\u00e9 au Havre il rencontre d\u2019Idrissa, un enfant africain traqu\u00e9 par la police, il …<\/p>\n","protected":false},"author":1,"featured_media":4872,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41],"tags":[],"class_list":["post-4850","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-programme-2025-2026"],"yoast_head":"\n"Le Havre" lundi 4 mai 18h15 et 20h30<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cineclubbedarieux.fr\/index.php\/2025\/12\/06\/le-havre-lundi-4-mai-18h15-et-20h30\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" 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