Réalisation:
Nicolas Winding RefnScénario:
Nicolas Winding RefnPhotographie:
Morten SøborgMusique:
Peter PeterActeurs·trices:
Zlatko Burić, Slavko Labovic, Ramadan Huseini, Marinela Dekic, Kurt Nielsen, Levino Jensen, Ilyas Agac, Marek MagiereckiRésumés(1)
Milo, un trafiquant de drogue serbe, suit une thérapie de groupe pour soigner sa toxicomanie.
Aujourd'hui, sa fille fête son 25e anniversaire, et il doit préparer un banquet pour une quarantaine de convives. En plein préparatif, il doit aussi veiller à ses affaires en cours. Il attend une livraison d'héroïne. A la place, il se retrouve avec des pilules d'ecstasy. Bien que ne connaissant rien à ce marché, Milo décide de garder la livraison et de la revendre. Mais ses lieutenants tombent malades, vraisemblablement intoxiqués par les pâtés préparés par Milo. Retournant à la fête, Milo entreprend de remplacer les pâtés avariés. Sous l'effet du stress, il succombe à la tentation de reprendre de la cocaïne. Là-dessus, son livreur de drogue lui demande de s'occuper d'un de ses amis proxénètes, qui cherche à vendre une de ses filles. La nuit est mal partie...
(texte officiel du distributeur)
Critiques (6)
Nicolas Winding Refn's star-studded cult trilogy about dealers is second to none. Refn has done an interesting job in all three episodes, each dealing with one of the main characters. The first one is probably the most authentic, with Kim Bodnia going from one screw-up to the next. I found the second part with Mads Mikkelsen the least interesting but still decent, and in the finale the main dealer Zlatko Buric falls into the clutches of the Albanians. Slavko Labovic and his brutal corpse cleaning are already iconic. It's very raw, Danishly grim, dirty and realistic to the point of chilling. Good stuff. 85%.
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Le dernier volet de la trilogie ne se précipite dans une direction et les émotions sont étonnamment maîtrisées. Ce qui est d'autant plus frappant dans la finale que le dernier clou est enfoncé dans le « plaisir » du public de découvrir le monde souterrain danois. Sans la connaissance des épisodes précédents, dans lesquels le personnage secondaire Mila était intéressant, mais n'alimentait pas la curiosité, ce ne serait pas pareil. Avec leur connaissance, au contraire, il s'agit d'un aboutissement plus sombre et plus intense que ce à quoi le spectateur s'attend. Refn explore ici des dimensions existentielles, élevant le genre du film de gangster à une représentation sombre des ombres cachées de la société contemporaine. Le dessin progressif de l'escalade de la détresse mentale du personnage principal à travers des bruits et des tons musicaux sinistres est précisément le genre d'inventivité de mise en scène que j'apprécie le plus chez les réalisateurs auteurs. Je veux enfermer Hannibal Lecter affamé et drogué et Mila dans une même pièce !
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The third part of the Pusher trilogy is definitely the roughest of all the three parts. The roughest and the most brutal that is. Mainly in the sense that it tells the story of the gangster Milo, who has two different faces, but who doesn’t allow you to see the brutal terror that he is able to create on either of them. The last thirty minutes are from the world of filmmaking genius, when I was silently staring at the screen and slowly and very unsurely realizing how crazy this world can be… Once the final credits started rolling and a very interesting and depressing tune started playing, I realized what a crazy look I had been giving my TV. Quite an unbelievable and very rough film experience.
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The pinnacle. In the sense that all the partial motifs of the previous two films are combined into an incredibly strong and film-uncompromising whole, which shifts to the viewer's eyes with butcher's obviousness the filth hitherto suspected. Burič had been a generator of charisma in the previous Pushers, but here he literally enjoyed the counterpoint of the closed Northerners. His Milo has the Serbian theatrics, the hot-bloodedness and immediacy, and the hallmark of an untouchable godfather – all the more painful is his fall into a pit of solitude. The ultimate punishment in the Pusher series is not bullets or daggers, but helpless loneliness and isolation. In this regard the third film comes the farthest, has the most distinctive inner "arc" in the construction of the main character, and the ending is masterfully motionless and at the same time screaming the title feeling of the whole trilogy. A modern Godfather-junkie muddied by the Copenhagen periphery. Refn's trilogy is nothing less.
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The third and hopefully final trip by Nicolas Winding Refn into the environment of the Copenhagen gallery. Unfortunately, compared to the previous installment, I perceive herein a significant decline in quality, which is by no means only related to the fact that Zlatko Buric is simply not Mads Mikkelsen. The screenplay is clearly weaker and where it lacks the credibility of the characters and the logic of their behavior, Refn replaces it with vulgarity and explicit portrayal of violence. The scenes of body disposal were far beyond what I would consider appropriate for a similar spectacle. Overall impression: 35%. One of the few successful scenes for me is the one where the seemingly warm relationship between father and daughter quickly turns into harsh bargaining among business partners in the drug trade.
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The preparation and subsequent celebration of a daughter's birthday has perhaps never been more bizarre. The climax of this Danish trilogy focuses on the nice guy Milo and his trials and tribulations. I was really was starting to get a little worried when my favorite character was letting himself get messed with by Albanian and Turkish bastards who put him in unpleasant situations that he wasn’t doing anything about. Luckily, Radovan helps in the end and the final cleaning becomes a sticky, but damn impressive icing on the cake. Remember. Never do anything without gloves.
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Annonces