{"id":5269,"date":"2026-09-09T15:45:31","date_gmt":"2026-09-09T13:45:31","guid":{"rendered":"https:\/\/cineclubbedarieux.fr\/?p=5269"},"modified":"2026-09-09T15:45:33","modified_gmt":"2026-09-09T13:45:33","slug":"le-roi-du-monde-dimanche-22-novembre-17h30","status":"publish","type":"post","link":"https:\/\/cineclubbedarieux.fr\/index.php\/2026\/09\/09\/le-roi-du-monde-dimanche-22-novembre-17h30\/","title":{"rendered":"\u00a0\u00bb Le Roi du monde\u00a0\u00bb dimanche 22 novembre 17h30"},"content":{"rendered":"\n

Carlos Saura<\/a> (2022) Espagne, Mexique 1h35 Avec: Ana de la Reguera<\/a>, Manuel Garcia-Rulfo<\/a>, Isaac Hern\u00e1ndez<\/a><\/strong><\/p>\n\n\n\n

Manuel et Sara, son ex-compagne, chor\u00e9graphe de renom pr\u00e9parent une com\u00e9die musicale. Pendant les r\u00e9p\u00e9titions, la passion et la tension montent entre les danseurs dont In\u00e8s qui aura affaire avec la maffia locale.<\/strong><\/p>\n\n\n\n

Un spectacle musical tonique et admirable<\/strong><\/p>\n\n\n

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\u00a9Eurozoom<\/figcaption><\/figure>\n<\/div>\n\n\n

On pense \u00e0 West Side Story<\/em> (1961), Fame<\/em> (1980), Chorus Line<\/em> (1986)\u2026 Mais Saura, qui avait pr\u00e9sent\u00e9 Les Voyous<\/em> \u00e0 Cannes en 1960, fait ici exploser les traditions latines et latino\u2011am\u00e9ricaines : corridos, danzones, rancheras, cumbias, huapangos\u2026 Le film est une f\u00eate de rythmes, de couleurs et de mouvements, un m\u00e9lange vibrant entre fiction musicale et r\u00e9alit\u00e9 des interpr\u00e8tes. Il y a quelque chose de magique dans cette mani\u00e8re de faire surgir la danse, de jouer des bleus et des ocres, de faire du costume un signe, de l\u2019espace sc\u00e9nique un territoire. Une \u00e9nergie qui emporte tout. <\/strong>Fiches du cin\u00e9ma<\/p>\n\n\n

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\u00a9Eurozoom<\/figcaption><\/figure>\n<\/div>\n\n\n

Une fois de plus, le r\u00e9alisateur aragonais a choisi de faire appel au directeur de la photographie, triplement oscaris\u00e9, Vittorio Storaro. Un tandem gagnant qui nous a d\u00e9j\u00e0 laiss\u00e9 des films tels que Goya en Burdeos<\/em>, Tango<\/em> ou Flamenco, Flamenco<\/em>. Dans Le roi du monde<\/em>, l\u2019extraordinaire mise en sc\u00e8ne de Carlos Saura se voit sublim\u00e9e par la lumi\u00e8re de la photographie qui \u00e9mane du travail de Vittorio Storaro.<\/strong><\/p>\n\n\n\n

Le film nous enchante de par la qualit\u00e9 de ses chor\u00e9graphies et sa puissante bande de son compos\u00e9e de titres tels que Fallaste coraz\u00f3n<\/em> de Cuco S\u00e1nchez, No volver\u00e9 <\/em>de Chavela Vargas ou encore La llorona<\/em> interpr\u00e9t\u00e9 par Fela Dom\u00ednguez. Un r\u00e9el plaisir tant pour les yeux que les oreilles !<\/strong><\/p>\n\n\n\n

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

Carlos Saura (1932-2023)<\/strong><\/p>\n\n\n\n

N\u00e9 en 1932, il est issu d\u2019une famille bourgeoise lib\u00e9rale. Il d\u00e9bute ses \u00e9tudes dans l\u2019ing\u00e9nierie, mais apr\u00e8s avoir \u00e9tudier la mise en sc\u00e8ne, il r\u00e9alise des courts m\u00e9trages. Politiquement engag\u00e9 \u00e0 gauche<\/strong>, ses choix d\u2019\u00e9tudes illustrent son int\u00e9r\u00eat pour les probl\u00e9matiques sociales.<\/em><\/p>\n\n\n\n

C\u2019est en visionnant les films de Bunuel <\/strong>que Carlos Saura d\u00e9cide de devenir r\u00e9alisateur. Dipl\u00f4m\u00e9 en 1957, il devient enseignant en cin\u00e9matographie, une carri\u00e8re qu\u2019il devra arr\u00eater en 1963 sous la pression du gouvernement franquiste<\/strong>. Ses films mettent en sc\u00e8ne les Espagnols en marge de la soci\u00e9t\u00e9 (Los Golfos), et d\u00e9noncent dans d\u2019autres la frustration de la bourgeoisie espagnole due \u00e0 l\u2019id\u00e9ologie conservatrice et nationale-catholique du r\u00e9gime (La Chasse et Anna et les loups<\/strong>). Ses positions en vers le r\u00e9gime passent par des m\u00e9taphores et des paraboles, notamment du couple et de la famille, des sujets qui lui sont proches. Leader espagnol des cin\u00e9astes de sa g\u00e9n\u00e9ration gr\u00e2ce \u00e0 La Chasse pr\u00e9sent\u00e9 au festival de Berlin en 1965 par lequel il obtint l\u2019Ours d\u2019Argent de la mise en sc\u00e8ne, il<\/strong> acqui\u00e8re une r\u00e9putation internationale. Malgr\u00e9 cette reconnaissance, la censure reste pr\u00e9sente et certains films, comme La cous\/ne Ang\u00e9lique, <\/strong>suscitent de violentes r\u00e9actions de la part du public espagnol.<\/em><\/p>\n\n\n\n

Apr\u00e8s la mort de Franco<\/strong>, le r\u00e9alisateur s\u2019axe vers un genre plus l\u00e9ger, qualifi\u00e9 par lui-m\u00eame de \u00ab tragicom\u00e9die \u00bb, dans Maman a 100 ans<\/strong>. En 1981 il renoue avec le film-enqu\u00eate avec Vivre vite, un film o\u00f9 Carlos Saura pose un regard sceptique sur la soci\u00e9t\u00e9 de l\u2019apr\u00e8s franquisme. La m\u00eame ann\u00e9e, il accepte de travailler sur le projet d\u2019un film musical, Noces de sang<\/strong>, avec le chor\u00e9graphe de flamenco Antonio Gades<\/strong>, qui sera une vraie r\u00e9ussite artistique et populaire comme le sera Carmen <\/strong>deux ans plus tard. Sp\u00e9cialiste de la danse dans son travail photographique, Carlos Saura s\u2019\u00e9loigne des probl\u00e9matiques politiques <\/strong>pour mettre sa cam\u00e9ra au service du spectacle vivant et rendre visible le m\u00e9canisme de cr\u00e9ation. En 2010 sort son film, Flamenco flamenco <\/strong>o\u00f9 Saura s\u2019amuse \u00e0 m\u00e9langer plusieurs arts : danse, peinture, musique et cin\u00e9ma. En 2013, il tourne un film sur Picasso <\/strong>lors de la cr\u00e9ation de Guernica, avec Antonio Banderas<\/strong>.<\/em><\/p>\n\n\n\n

Loin de se cantonner au statut de r\u00e9alisateur subversif et grand critique de la fin du Franquisme, dont la vigueur se serait amoindrie avec la chute du r\u00e9gime, Saura reste bien l\u2019un des \u00ab auteurs \u00bb majeurs du cin\u00e9ma moderne espagnol des ann\u00e9es 60-70. <\/strong>Le r\u00e9alisateur invente un monde int\u00e9rieur, baroque et fantasmatique, qui flirte parfois avec le fantastique, et oscille entre la fantaisie, le grotesque, la noirceur des pulsions humaines, et les embrouillaminis de l\u2019inconscient. G\u00e9raldine Chaplin<\/strong>, est le faci\u00e8s formidable de son univers : enfantine et tragique, hyst\u00e9rique ou fragile, d\u2019une extr\u00eame mall\u00e9abilit\u00e9 expressive. Elle reste malgr\u00e9 sa m\u00e9lancolie une bouff\u00e9e de fra\u00eecheur qui vivifie la premi\u00e8re partie de l\u2019\u0153uvre \u2013 une suite de films tr\u00e8s audacieux qui cultivent souvent les huis-clos fantasmagoriques, th\u00e9\u00e2tres des ali\u00e9nations de toutes sortes, conjugales, sociales et politiques.<\/em><\/p>\n\n\n\n

Le Roi du monde<\/em>, est un film testamentaire, une \u0153uvre d\u2019adieu o\u00f9 Saura se regarde lui\u2011m\u00eame \u00e0 travers ses personnages. Un film modeste, mais d\u2019une beaut\u00e9 profonde, qui parle de ce que l\u2019on transmet, de ce que l\u2019on perd, et de ce qui demeure.<\/strong><\/p>\n\n\n\n

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

Paroles du r\u00e9alisateur<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n

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\u00a9Eurozoom<\/figcaption><\/figure>\n<\/div>\n\n\n

j\u2019ai beaucoup \u00e9tudi\u00e9 la musique populaire mexicaine <\/strong>: corridos, rancheras, boleros, danzones et autres. Il y a assez de mat\u00e9riel au Mexique pour faire un film musical de fiction. Il s\u2019agit juste d\u2019avoir une vision moderne et pas seulement historique ; par exemple, ne pas utiliser les v\u00eatements du folklore, mais des v\u00eatements modernes pour les mariachis et certaines danses.<\/p>\n\n\n\n

J\u2019ai toujours d\u00e9fendu l\u2019id\u00e9e que l\u2019imagination est l\u2019un des outils de la cr\u00e9ation cin\u00e9matographique. C\u2019est pourquoi j\u2019insiste pour aller plus loin dans cette ligne sc\u00e9nographique, en \u00e9vitant les solutions traditionnelles courantes, en utilisant les diff\u00e9rentes possibilit\u00e9s que nous offrent les nouvelles technologies : des cam\u00e9ras num\u00e9riques l\u00e9g\u00e8res et de haute qualit\u00e9, des projecteurs puissants et \u00e0 faible consommation, la possibilit\u00e9 d\u2019enregistrer le son en direct avec de minuscules microphones\u2026<\/p>\n\n\n\n

L\u2019id\u00e9e de r\u00e9aliser la com\u00e9die musicale LE ROI DU MONDE<\/em> dans un studio adapt\u00e9, afin de pouvoir contr\u00f4ler l\u2019histoire fictive racont\u00e9e, les danses et les chansons, ainsi que le tournage dans les appartements, les caf\u00e9s, le m\u00e9tro, les places et autres lieux publics de Mexico, n\u2019a rien de fantaisiste. Il s\u2019agit surtout d\u2019int\u00e9grer deux mondes, la r\u00e9alit\u00e9 et la fiction, dans un jeu visuel dans lequel on peut facilement entrer et sortir.<\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Carlos Saura (2022) Espagne, Mexique 1h35 Avec: Ana de la Reguera, Manuel Garcia-Rulfo, Isaac Hern\u00e1ndez Manuel et Sara, son ex-compagne, chor\u00e9graphe de renom pr\u00e9parent une com\u00e9die musicale. Pendant les r\u00e9p\u00e9titions, …<\/p>\n","protected":false},"author":1,"featured_media":5276,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[55],"tags":[],"class_list":["post-5269","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-automnales-2026"],"yoast_head":"\n" Le Roi du monde" dimanche 22 novembre 17h30<\/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\/2026\/09\/09\/le-roi-du-monde-dimanche-22-novembre-17h30\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"" Le Roi du monde" dimanche 22 novembre 17h30\" \/>\n<meta property=\"og:description\" content=\"Carlos Saura (2022) Espagne, Mexique 1h35 Avec: Ana de la Reguera, Manuel Garcia-Rulfo, Isaac Hern\u00e1ndez Manuel et Sara, son ex-compagne, chor\u00e9graphe de renom pr\u00e9parent une com\u00e9die musicale. 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