Réalisation:
Nicolas Winding RefnPhotographie:
Morten SøborgMusique:
Peter PeterActeurs·trices:
Kim Bodnia, Zlatko Burić, Laura Drasbæk, Slavko Labovic, Mads Mikkelsen, Peter Andersson, Levino Jensen, Thomas Bo Larsen, Lars Bom (plus)Résumés(1)
A Copenhague, Frank vend de l'héroïne et fréquente le milieu de la petite criminalité. Sa dette envers le trafiquant serbe Milo l'incite à tenter un gros coup. Mais la police fait irruption pendant la transaction, et au cours de la poursuite qui s'ensuit, Frank perd à la fois la marchandise et l'argent. De rage, Frank expédie à l'hôpital son acolyte Tonny. Mais Milo commence à s'impatienter et se fait menaçant. L'urgence de rassembler une importante somme d'argent pousse Frank à multiplier les imprudences. Il va jusqu'à solliciter quelques couronnes auprès de sa mère qu'il n'a pas vue depuis longtemps. En désespoir de cause, il achète une arme, et blesse l'homme de main de Milo avant de s'enfuir. Désormais en grave danger, il convainc son amie de l'aider à monter une ultime arnaque qui devrait lui permettre de quitter le pays dans les heures qui suivent... (texte officiel du distributeur)
(plus)Critiques (7)
L'ouverture du « parrain danois », dont j'attendais pas mal mais qui m'a donné encore plus. Scorsese et Leone sont épiques dans un style à l'américaine, Refn est minimaliste à l'européenne et incroyablement direct. Le premier Pusher est un excellent échauffement sur la vie d'un petit gangster et sa chute due à des événements imprévisibles, causés par des personnages secondaires imprévisibles. Des personnages qui, malgré leur petit espace devant la caméra, captivent tellement par leur stylisation cinématographique qu'un focus détaillé sur eux dans deux suites est le souhait ultime devenu réalité de tout accro au cinéma. Une trilogie à voir absolument, une des pierres angulaires du genre gangster européen.
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Trouvons deux drogués sur la place Venceslas et filmons-les pendant une semaine. Je ne regarderais ça pour rien au monde. Bien sûr, les superstars danoises Bodnia et Mikkelsen apportent la dose nécessaire d'authenticité et de talent, mais le résultat est le même pour moi : ennui, ennui, dégoût et un film inutile. Je n'ai pas compris la signification et la portée de toute cette entreprise et je ne sais pas si je trouverai la force de donner une chance aux autres volets. Pour la première fois, le Danemark m'a déçu ; je ne pensais pas que ça pourrait arriver un jour.
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Pusher feels almost incredibly civil and authentic. The protagonist is an unlikeable stupid asshole, which makes it feel more realistic than if the criminal (a street drug dealer) was a cool and nice dude that drops one wisecrack after another, something we know from other films of the genre. Very good début.
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Searching for rhythm and a signature in long contact details and (apparently) partially improvised dialogues by a pair of delinquents. In the second part, when the film abandons the buddy movie model and begins to watch Frank's desperate struggle for survival, Refn's penchant for aestheticization of brutality and morally dubious characters is born in the neon light of nightclubs and bars. While at first classical red and purple lights are not used in a fundamentally symptomatic way, the magnificent final sequence gives birth to a director who uses his protagonists as projection screens of his brutal visions. A film on the edge between amateur cinema, the residual influences of Dogma 95 and the awakening visual monster.
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I'm paradoxically reviewing the first part of the loose trilogy last. I saw it at the premiere and now I saved it for the end to confirm or refute my former impressions. Along with it, I actually account for the whole series and I give three stars for the overall image of the Copenhagen art gallery. Pusher does not lack energy and courage nor the effort to be authentic. The story is simple. After one botched delivery, the money and drugs are gone, and there's only an unpleasant debt with the customer, who has more than enough hands for dirty enforcement work. What brings Pusher down are typically Tarantino-like flaws, especially careless dramaturgy. The director is more focused on style and atmosphere than on storytelling. The pair of crooks drive through the streets for too long and spews out macho nonsense - I know that it's part of their character, but to this extent, it strongly smacks of self-indulgence. The behavior of the characters doesn't make sense in some cases. What in the world was the purpose of Frank's robbery with his girlfriend - at that moment, the director got him where he needed to, but it goes against the character and logic of the situation. I'm giving it three stars, but I'm not enthusiastic about it. Refn wanted to entertain and used music video elements so typical for the work of young filmmakers from the 90s. As a serious drama, it's too shallow and if I want to be entertained, Guy Ritchie doesn't play at having any deep exploration, but he entertains more effectively. I add a third star for the duo of big names in Scandinavian cinema - Kim Bodnia and Mads Mikkelsen. Coincidentally, I am currently watching the former in the series The Bridge from a few years ago, and it's an interesting comparison. Overall impression: 55%.
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At times it felt like Pulp Fiction, but directed by Greengrass. Great actors, great characters and brilliant atmosphere.
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Refn's debut is interesting in its depiction of how screwed the central character is and how he gradually gets into deeper and deeper shit. The stylization is mostly raw, simple, unremarkable, and feels almost documentary-like. The strong focus on the main character adds a fitting realism to the entire film. A pure counterpoint to the top Hollywood masterpieces from the mob setting, yet in its own way an original and profound insight into the Danish underworld.
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Annonces