Réalisation:
Denis VilleneuveScénario:
Eric HeissererPhotographie:
Bradford YoungMusique:
Jóhann JóhannssonActeurs·trices:
Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, Tzi Ma, Mark O'Brien, Joe Cobden, Russell Yuen, Nathaly Thibault, Pat Kiely (plus)VOD (4)
Résumés(1)
Lorsque de mystérieux vaisseaux venus du fond de l'espace surgissent un peu partout sur Terre, une équipe d'experts est rassemblée sous la direction de la linguiste Louise Banks afin de tenter de comprendre leurs intentions. Face à l'énigme que constituent leur présence et leurs messages mystérieux, les réactions dans le monde sont extrêmes et l'humanité se retrouve bientôt au bord d'une guerre absolue. Louise Banks et son équipe n'ont que très peu de temps pour trouver des réponses. Pour les obtenir, la jeune femme va prendre un risque qui pourrait non seulement lui coûter la vie, mais détruire le genre humain... (Sony Pictures Releasing France)
(plus)Vidéo (40)
Critiques (19)
Cela me déçoit, surtout en tant que fan de Villeneuve, mais Premier Contact pèche à mes yeux au niveau de la connexion des deux lignes narratives. La ligne du mélodrame de la vie de Louise est forte et le film repose sur une idée philosophique plus profonde et tangible que tous les films de science-fiction de ces dernières années (y compris le film intimiste Gravity ou le spectacle sans cerveau et prétentieux de Nolan). Cette ligne ne peut être accomplie sans émotion. Cependant, sa collaboration avec la ligne du thriller scientifique de communication avec les extraterrestres, dont le but est de stimuler la curiosité du spectateur, coince dans le dernier tiers. Et pas seulement avec des détours inutiles et perturbants, comme l'attaque d'un groupe de soldats révoltés contre le vaisseau extraterrestre, mais aussi avec l'entrelacement global des plans narratifs qui devraient s'emboîter parfaitement et finalement asséner un coup au spectateur. Lors du premier visionnage, la conclusion ne m'a pas semblé déconcertante, mais lors de la deuxième vision, j'ai paradoxalement davantage apprécié les visions de Louise, sachant grâce à la connaissance de la conclusion ce qu'elles signifient. Cependant, aucun des deux visionnage ne m'a procuré l'extase émotionnelle et intellectuelle dont la plupart de mes collègues parlent et que j'aimerais vraiment vivre, pour être honnête. La bande-son et l'atmosphère sont incroyables, Amy Adams est fantastique.
()
I would never have believed that a sci-fi film could say more about the nature of people in general than the hundreds of other psychological films that have graced cinema screens. This a cinema event with capital E, I've been waiting for sci-fi like this since Zemeckis's excellent Contact in 1997. And at the same time it's a litmus test of our population, whether you're idiots (like the guys two rows behind me, who spent the whole movie making jokes and unknowingly poking fun at their own idiocy) or sensitive people who can appreciate something like this. And Amy Adams is awesome.
()
If I were able to think like a heptapod (and if events are not predetermined), I would read Chiang’s short story after watching the film. With knowledge of the original story, the film doesn’t manage to be surprising with respect to what it aims for from the beginning and what it so much relies on to its own detriment. ___ Whereas Chiang gets straight to the point, Villeneuve understandably dedicates much more space to exposition. The first encounter is thus preceded by a comically long “build-up”, during which the protagonists fly in a helicopter to Montana, put on protective coveralls, drive to an enormous spaceship, climb onto a lifting platform, ride the lifting platform (because we would be deprived of one dramatic ride if the platform stood directly below the opening) and walk into the bowels of the ship. The only function of this procedural porn is to prepare us for an essential and epic reveal which, however, doesn’t happen, because all we learn from it is what the aliens look like. The individual steps leading up to the act of communication don’t play any more of a significant role later. For me, the entire film was such a similar unfulfilled promise as the scene described above. ___ The long and slow opening sequence is also unsatisfying in introducing protagonist, whose actions throughout the rest of the film can probably be explained by the fact that she lives alone and compensates for her poor personal life with work (she is the only one who goes to school even when the rest of the world is experiencing an alien visitation). Many of the informative dialogue scenes, flashbacks with the child and the scene in which Louise translates a conversation in Chinese so that we know she also speaks Mandarin, feel similarly utilitarian and inorganic. The coldly engineered approach to the characters, who remain mysteries like the alien logograms until the end of the film, wouldn’t matter so much if it wasn’t in conflict with the melodramatic level of the narrative, which is based on the relationships and motivations of the protagonists and becomes dominant in the end (I consider the replacement of an accident, which perhaps could have been prevented, with an incurable disease, which can only be accepted as an inevitability according to melodramatic conventions, to be quite essential). ___ In the short story, a theory that is partially revealed is continuously applied to a universally comprehensible story whose main purpose is to make the heptapods’ way of thinking comprehensible. The aim is thus not to move the reader, but to help them understand how “it” all works. Conversely, the newcomers attempt to offer emotional rather than intellectual satisfaction, but they’re not very successful. However, Arrival is still a skilfully made sci-fi movie about the importance of (mis)understanding, though it is too reminiscent of Interstellar due to its expository dialogue, extremely serious tone and cold visual style, but I wasn’t as impressed with it as I was with the short story. Among other things, that is due to how doggedly it tries to astonish the viewer. Postscript: If the solution presented by the film for reuniting a divided world is the only one possible, then we’re pretty much fucked. 70%
()
(moins)
(plus)
This is the best film in about the last five years. It’s terse, brisk, clever, and in many ways bold. The best thing about it is that the sci-fi storyline is much less important than the personal one. I hardly need to see it 3 more times to appreciate the unique picture-sound interplay and award the editor a couple of golden statuettes. After it was over, I stood in the flying snow, wanting to do a lot of things, but then I realized that the best thing to do was to just let myself drift through the incredible flurry of all kinds of feelings. I've truly been waiting for a movie like this for years.
()
A monumental, reflective, humanistic, moving sci-fi film. Exactly what Interstellar desperately wanted to be, but failed to achieve. Arrival is not without its minor issues, about which I may write later (IMHO, the way the script addresses the communication between the different world teams during the research is a little confusing), but the goosebumps at the end overcome all that.
()
Photos (361)
Photo © Paramount Pictures / Jan Thijs
![Premier contact - Film](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/161/276/161276745_acec2e.jpg)
Annonces