Sunday 29 March 2026 10:00
languages : sans paroles locations : Théâtre des Capucins
Marcel Pagnol
Marseille, the Bar de la Marine. Marius is a young man exhilarated by the sea. He loves his father César, gruff but good-natured, and he also loves little Fanny, who sells seashells in front of his father’s bar. Since childhood, he has been burned by a desire to travel the world. He struggles against his restlessness. He does not want to abandon old César, who might die of grief, nor Fanny, who loves him desperately. And yet, the sea calls to him.
Il s’agit d’un ‘drame gai’. Le fond de l’histoire est mélodramatique mais les personnages sont si truculents, les comparses si pittoresques, les reparties si drôles, l’interprétation si brillante que l’on oublie l’anecdote au profit du détail. Le film n’a pas vieilli et a fait les délices de toutes les générations qui se sont succédé depuis 1931.
Dictionnaire des films. Éd. Larousse
One of the first great French talkies.
The Retro Set
Demazis, who had been working with Pagnol in the theater since 1927 (and would give birth to his child in 1933), is extraordinary in all three movies, playing the central female character in a story governed by the desires of men.
Chicago Reader
Sunday 29 March 2026 10:00
languages : sans paroles locations : Théâtre des Capucins
Sunday 29 March 2026 15:00
languages : deutsche Originalfassung locations : Théâtre des Capucins
Monday 06 April 2026 20:00
languages : vostFR locations : Théâtre des Capucins
Kaouther Ben Hania
Red Crescent volunteers receive an emergency call. Hind, a 6-year-old girl, is trapped in a car under IDF fire in Gaza, pleading for help (Hind’s actual voice, preserved as a rescue-call recording, is heard though the volunteers are played by actors). While trying to keep her on the line, the Red Crescent workers do everything they can to get an ambulance to her.
No other film this year will get more people talking, or more people crying.
BBC.com
Proves quite unavoidably devastating: The original audio footage carries a brutal emotional wallop in any context, and there’s value in making a cinema audience captive to it, unable to pause or stop or avert our ears.
Variety
Hania has form in metafiction, however this is a step up even from the queasily gripping Four Daughters. The gravity of the subject has sharpened her storytelling instincts.
Indiewire
Wednesday 22 April 2026 18:15
languages : vostFR locations : Théâtre des Capucins
Friday 03 April 2026 20:30
languages : vostFR locations : Théâtre des Capucins
Tuesday 07 April 2026 20:30
languages : vostEN locations : Théâtre des Capucins
Vengeance au féminin
Three wealthy businessmen, all married and good fathers, gather in a desert area for their annual hunting trip. But this time, one of them has brought along his young mistress, a seductive nymphet who quickly sparks the desire of the other two.
Radical et gore, ce récit est surtout la révélation d’une réalisatrice à suivre, Coralie Fargeat, qui dénonce sans complaisance les violences faites aux femmes.
Le Journal du dimanche
Un ‘rape and revenge’ sanglant et surréaliste, kaléidoscope de visions gore, avec une nouvelle icône : Matilda Lutz.
Première
Fargeat’s blood-drenched feature debut, Revenge, tapped into the fury of the #MeToo movement and set the tone for the precarious balance between feminism and exploitation that characterises her latest picture, The Substance.
The Guardian
Sunday 29 March 2026 10:00
languages : sans paroles locations : Théâtre des Capucins
Friday 03 April 2026 20:30
languages : vostFR locations : Théâtre des Capucins
Wednesday 08 April 2026 18:15
languages : vostEN locations : Théâtre des Capucins
Marcel Pagnol
Panisse married Fanny, who had been abandoned by Marius, and adopted Césariot, the child of their love. He dies with everyone’s regrets. Fanny reveals the truth to her son, who receives his mother’s moving confession with deep concern. He decides to set out in search of his father.
Le dernier volet de la Trilogie marseillaise comporte quelques-uns des plus beaux dialogues du cinéma français et confirme la singularité de la démarche cinématographique de Marcel Pagnol, réalisateur majeur.
àVoir-àLire.com
Le film garde la qualité de cette saga tribale ou se mêlent, s’aiment et surtout s’apostrophent des personnages qui sont à la fois les membres d’un pittoresque folklore régionaliste, et des types humains de valeur universelle.. César conclut dignement le plus grand feuilleton populaire que le cinéma parlant ait apporté a cette époque.
L’Âge classique du cinéma français, Éd.Flammarion
Pagnol’s directed chapter happens to be one of the more visually innovative, utilizing swipe transitions and offering a bit more jaunty energy thanks to shifting locales. Despite its simplicity, Pagnol’s Marseille Trilogy is a richly textured, character-driven triptych of films detailing a certain time, place, and sentiment.
Ion Cinema
Sunday 29 March 2026 10:00
languages : sans paroles locations : Théâtre des Capucins
Saturday 28 March 2026 18:15
languages : vostFR locations : Théâtre des Capucins
Saturday 28 March 2026 20:30
languages : vostEN locations : Théâtre des Capucins
Kaouther Ben Hania
Sam Ali, a sensitive and impulsive Syrian, left his country to escape the war. To be able to travel to Europe and live with the love of his life, he accepts to have his back tattooed by a controversial contemporary artist. Turning his own body into a prestigious piece of art, Sam will come to realize that his decision might actually mean anything but freedom…
It weaves together satire and humane political awareness to create an original fable about art, privilege, freedom and identity.
NPR
A real original, made by adventurous artists in a small North African industry that’s never attracted much serious attention. But Ben Hania and her team have really come up with something fresh and dynamic here.
Deadline Hollywood
Friday 03 April 2026 20:30
languages : vostFR locations : Théâtre des Capucins
Saturday 28 March 2026 18:15
languages : vostFR locations : Théâtre des Capucins
Wednesday 22 April 2026 20:30
languages : version originale française locations : Théâtre des Capucins
The McCarey Way
An Italian playboy and a beautiful cabaret singer fall madly in love during a voyage on a cruise ship. But he is engaged, and she is set to marry a wealthy Texan. To test their sudden love, they decide to part ways and agree to meet six months later at the top of the Empire State Building…
McCarey confère, par l’utilisation subtile du Cinémascope et des couleurs, une douce flamboyance à la rencontre drôle et émouvante entre Cary Grant et Deborah Kerr. Préparez vos mouchoirs (en dentelle, de préférence).
Critikat.com
A remake by Leo McCarey of his own 1939 classic Love Affair, the film progresses as a graceful switch from romantic comedy to weepie melodrama, reflecting the director’s deep-rooted belief in the intricate bond between laughter and tears.
Slant Magazine
Tuesday 07 April 2026 18:30
languages : vostFR locations : Théâtre des Capucins
Wednesday 08 April 2026 20:30
languages : vostEN locations : Théâtre des Capucins
Sunday 05 April 2026 10:00
languages : vostFR locations : Théâtre des Capucins
Milos Forman
The firemen of a provincial Czechoslovakian town throw a ball in honour of the chief’s retirement. There will be music and dancing, a beauty pageant and a raffle. However, the proceedings are dogged by difficulty at every step…
The movie is just plain funny. And as a parable it is timeless, with relevance at many times in many lands. Remarkable, how often when I learn of a bureaucratic brainstorm, I think of the fireman moving the farmer’s chair closer to the flames.
Roger Ebert
Quietly, irresistibly funny in the early Forman manner (this was his first film in colour).
Time Out Film Guide
Wednesday 01 April 2026 18:30
languages : intertitres anglais stFR locations : Théâtre des Capucins
Friday 27 March 2026 18:30
languages : vostFR locations : Théâtre des Capucins
Monday 06 April 2026 16:15
languages : version française locations : Théâtre des Capucins
Vengeance au féminin
Judy, Violet, and Doralee work at the Consolidated Corporation and have problems with their boss. All they can think about is getting revenge…
A good-hearted, simple-minded comedy that will win a place in film history, I suspect, primarily because it contains the movie debut of Dolly Parton. She is, on the basis of this one film, a natural-born movie star, a performer who holds our attention so easily that it’s hard to believe it’s her first film.
Roger Ebert
The way Coleman asserts his masculinity with phrases like ‘cut the balls off the competition,’ and the way our heroic trio works together to sculpt a worker’s paradise – complete with flex-time and day-care facilities – serves as an effective summary of the era’s hot-button issues.
The AV Club
Saturday 04 April 2026 16:00
languages : vostFR locations : Théâtre des Capucins
Tuesday 31 March 2026 18:15
languages : vostFR locations : Théâtre des Capucins
Monday 06 April 2026 16:15
languages : version française locations : Théâtre des Capucins
Kaouther Ben Hania
Olfa is the mother of four daughters in Tunisia. Her two older daughters, after becoming radicalised, leave the family to join Daesh fighters in Libya. The film features Olfa and her two remaining daughters, who retell their own story along actors standing in for the sisters and the various men in their lives.
A compelling portrait of five women and a unique and ambitious work of nonfiction cinema that explores the nature of memory, the weight of inherited trauma, and the ties that bind mothers and daughters.
Rotten Tomatoes
The poignancy of the movie’s formal conceit is that, by stepping into their roles, Matar and Karoui embody both a consoling presence and a devastating absence. Watching the two actors grow in confidence, laughing and joking alongside their on-screen mother and sisters, you could almost believe that you were watching a happily reunited family. But the illusion continually breaks. Indeed, this is a heartbreaker about mothers and daughters, the cruelty of repression and the slippery but revealing nature of performance.
Los Angeles Times
We see the power in tying together the fake and the real — the moment when method acting turns into method remembering.
Washington Post
Wednesday 01 April 2026 20:30
languages : vostEN locations : Théâtre des Capucins
Saturday 04 April 2026 18:00
languages : vostEN locations : Théâtre des Capucins
Wednesday 22 April 2026 20:30
languages : version originale française locations : Théâtre des Capucins
Cinematic Siblings
The final screening of a closing movie palace in Taipei is King Hu’s classic, Dragon Inn. As the old wuxia film plays, scattered patrons wander the decaying cinema, their silent presences evoking longing, memory, and missed connections.
This is a funny, sad, stunningly smart movie about the end of movies, made in Tsai’s inimitable, unblinking style. No movie lover should miss it.
Christian Science Monitor
Discarding plot in favouring a procession of finely evoked resonances with histories political, aesthetic, and personal, all flowing through a shared experience of a memorialized work of art, Goodbye, Dragon Inn makes much of seemingly little by attuning itself to loss.
Metro Times
Tsai Ming-Liang always makes you feel that there’s a world of life beyond his movies -- a world populated by ghosts that are as real as we are.
Salon
Monday 06 April 2026 16:15
languages : version française locations : Théâtre des Capucins
Wednesday 22 April 2026 18:15
languages : vostFR locations : Théâtre des Capucins
Saturday 04 April 2026 18:00
languages : vostEN locations : Théâtre des Capucins