“Mrs. Harris goes to Paris” is relentlessly enjoyable

MADAM. HARRIS GOES TO PARIS

*** Mrs. Harris goes to Paris‘A Simple Story reflects stories told for millennia of pilgrimages undertaken by holy war widows as they intersect with the divine. This particular retelling of Paul Gallico’s 1958 novel finds spunky housekeeper Ada Harris (Lesley Manville) more superstitious than strictly witty. While making ends meet as a traveling maid, she stumbles upon an employer’s Christian Dior dress and – in what amounts to a seismic religious awakening – suddenly realizes what her life of silent service is leading her towards. had led. Bizarrely, as she resolves to upset the imperious guardian of the Maison Dior (Isabelle Huppert), director Anthony Fabian never fears the economic inequalities that rock the streets of Paris amid a strike by industrial workers. ‘remediation (the film looks a bit like a director’s cut of Mary Poppins which briefly features the revolutionary Chimney Sweeps sect or their peers inside an opium den near Portobello Road). However Mrs Harris trades on the same kind of wish-fulfillment and unadulterated positivity as classic fantasy films, it’s not a kid’s movie. On the contrary, even if Ada’s career is relentlessly pleasant enough to thrill this sparkling great aunt who lives in us all. PG. JAY HORTON. Bridgeport, Eastport, Evergreen Parkway, Fox Tower, Laurelhurst, Living Room, Vancouver Mall.

APPLES

*** It may seem too easy to draw a line between Yorgos Lanthimos and other contemporary Greek filmmakers, but Christos Nikou’s feature debut, Apples, justifies the comparison. Not only was Nikou the second assistant director of the escape from Lanthimos in 2009 dog toothbut Apples operates with a conceptual absurdism comparable to films like Lobster. It’s set in a world where amnesia is rampant, and the “impaired memory department” assigns patients tasks to rehumanize them – riding bikes, attending costume parties, supporting a dying stranger – that must be documented with Polaroid selfies (the film’s protagonist is Aris, played by Aris Servetalis, who suddenly wakes up on a bus and has to start his amnesia treatment). It’s a clever premise that enjoys public attention and rumination, but Apples is not a welcoming watch. Nikou’s decision to undermine the vibrancy and personality of his native Athens feels straight out of the soft-dystopian playbook, and his screenplay doesn’t have as much fun with language as Lanthimos’ writing. Perhaps the biggest difference, however, is that while Nikou’s tone is dull and alienating, the film is enigmatically humanistic. You can walk away from Apples chewing on not just important themes related to pandemics and the Gram’s “do it for the culture” culture, but how the fallible space between what we remember and forget is infinitely, essentially human. NR. CHANCE SOLEM-PFEIFER. Living room.

FIRE OF LOVE

*** An essayist portrait of the volcanologist power couple Katia and Maurice Krafft, fire of love doesn’t overwork getting them ready for the camera. Pioneering and aestheticizing their field until their death in a volcanic explosion in 1991, they were still inadvertently preparing to be the subjects of director Sara Dosa’s elegant and adoring testimony to the Krafft’s two shared loves: volcanoes and nature. other. (By the way, Wes Anderson probably owes their estate a royalty for the red caps and straight zooms we see in their mountains of documentary footage.) Told by the poetic whispers of Miranda July and with a soundtrack that features Ennio Morricone, Brian Eno and others, the film is crazy about the “alchemy” of Krafft love and all that volcanoes symbolize alongside: death, rebirth and unbridled, mysterious emotion. Ultimately, fire of love running out of things to say about a couple who seem to have had no existence beyond studying and filming a gorgeous hellfire, but this is a movie just begging to be seen on the big screen . The Kraffts have spent their lives incredibly close to volcanoes, and in the film they are often seen as silhouettes dwarfed by nature’s most overwhelming. Be small with them. PG. CHANCE SOLEM-PFEIFER. Bridgeport, downtown, Clackamas, Hollywood, lounge.

NOPE

** In Dating of the Third Kind, Richard Dreyfuss sought to free himself from domestication; in Arrival, Amy Adams wanted to escape the gravity of grief. Most UFO movies are about looking into the unknown to fill the void within – and for a moment, that’s what siblings OJ (Daniel Kaluuya) and Emerald (Keke Palmer) seem to be doing in Jordan Peele. . Nope. While mourning their late father (Keith David), they spot an elegant shape in the sky above their California ranch. Is their desperation to get what OJ calls “Oprah’s shot” of a possible bereavement-born flying saucer? It makes sense that they seek solace from an otherworldly mystery, but Nope doesn’t have the discipline to dig into his soul. After making two smart and fast horror movies (get out and We), Peele made an eerily shapeless film, stretching a relatively simple premise to a running time of 130 minutes. Whereas get outresolute commitment to uprooting the hypocrisies of white liberals helped him win the Oscar for Best Original Screenplay, Nope toys with half-formed ideas about loss, miracles and nature, all too obviously looking for a reason to exist. Middling Peele may be light years away from the usual summer movie schlock, but even his most ardent admirers should be able to tell the difference between a movie he needs to make and a movie he wants to make. . R BENNETT CAMPBELL FERGUSON. Academy Theatre, Baghdad, Cinema 21, Cinemagic, City Center, Fox Tower, Laurelhurst, Living Room, Lloyd Center, Pioneer Place, St. Johns, St. Johns Twin, Studio One.

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