The legend of SAMO is spreading like wildfire

In a bar in Boston, a student drops her boyfriend: "all your life you believe it hate you because you are a"nerd"." In reality, it will be just because you're a shithead. ""the Social Network"describes the fate of the founder of Facebook, Mark Zuckerberg (also see page 9). Harvard to Silicon Valley, David Fincher ("fight Club", "se7en", "The strange story of Benjamin Button") captures the last Rails of an aristocracy of finance, the world of the "gentlemen of Harvard" which crumbles. Instead, comes this fascinating virtual golem that person have control, not even its creators. In this, "The Social Network", whose intelligence and formidable efficiency scenario was knitted by the great Aaron Sorkin ("A White House", cult television series) will remain as one of the great films of the Decade. This work presents itself as a fiction but is based on proven facts, captures live the collapse of a former order. Facebook is built on betrayal, contempt, the misogynie More it stretches, the more Zuckerberg condemned to solitude. Engineering or multi-billion dollar ' shithead', it remains an ado haughty, unable to communicate otherwise than by his machine. The pace of frenzied diction evokes his fingers on the keyboard. En route to glory, it try to appear as "cool" as the creator of Napster, Sean Parker, he is pushing in the aquarium of the screen. In a studied gesture, he grabs a bottle of beer and the lance to a beautiful girl through the kitchen. She looks at the landing on the tile. And Facebook infinitely repeating the word "friend", such a cry which resounds in the 2.0 space. Magistral.

If "The dancing dreams" is a dance film, it is also a feature on the learning of life. Initially, there is the choreographer Pina Bausch, missing the summer 2009. And one of his creations, "kontakthof", presented with his own company Tanztheater Wuppertal in 1978. In 2000, Pina decides to go back with more elderly of 65 years. In 2008, so looping the loop, it is with young people of 14 years and more. The art of Pina is, his round and his dance, millimétrés his scenes in the biting irony, sometimes cruel. A world apart from unfamiliar for teenagers of today. In a careful approach work, Anne Linsel and Rainer Hoffmann infiltrate behind the scenes, following the beginnings and the hearings. The documentary, constantly just remotely, gaining intensity with organ points as the visit of the choreographer or "kontakthof" first in the junior version. There are tears, figures to resume these anxieties are belly. Friendships are born en route: most did not know before this project - and had never danced! Above all, these "dancing dreams" are a sometimes violent entry into another world, that of adults. One of the strong scenes of the show shows Kim, a young dancer consolée by each of the soft boys and then more harshly. And indecent assault and one other breaks out in the big day: they have to listen to rap or rock, to dress as the great, they remain timid children when it comes to undress or touch the other. "Dancing dreams" captures these rare moments, with the beautiful presence of two repeaters company old, Jo Ann Endicott, Bénédicte Billiet. Finally, this poignant documentary offers the latest images of Pina Bausch. A dream of eternity.

His death by overdose, Jean-Michel Basquiat, the most famous painter of his generation, was the age of Jimi Hendrix, Janis Joplin and Jim Morrison when they made the big leap: twenty-seven years. "I really loved her, but he was too fragile for this world", confesses Madonna, in "The Radiant Child", the beautiful documentary that he devotes Tamra Davis. At the age of seventeen, Basquiat left his parents, affluent New Yorkers enjoyed - at the age of six, his mother took him in museums-, to live the bohème. With a friend, he starts to graffer on the walls of the Big Apple by hiding under the name of SAMO. The legend of SAMO is spreading like wildfire. Vincent Gallo or Sonic Youth revolve around the duo. Jean-Michel had confidence in him strong. Speaking of the great painter Julian Schnabel, the young man warned: "one day I boxerai against this type." Initially, mowed, it draws on components, refrigerator doors, sells postcards of paintings in the restaurants. This is where it will cross Andy Wahrol that takes it two. This action marks the beginning of a strong and sincere friendship. Basquiat Meteor lights up Manhattan. For his first exhibition, he sold the day of the inauguration: 200,000 dollars in an evening! He drowns in the work, painting three or four paintings at a time, listening to the "Boléro" by Ravel or Charlie Parker to blaring. When asked how he painted, he met by this joke: "It does not ask Miles how he plays the trumpet." At the time of the triumphant minimalism, it imposes its flamboyant néo-expressionnisme. Dismissed by MoMA ("it's not worth the time wasting as much space", assènera to the merchant), he made the "New York Times". Money flows in flow. Heroin also, unfortunately. End of part.

"The woman with the 5 elephants", it is Svetlana Geier, 87 years old. It is not dompteuse in a circus. Its five elephants are "Crime and punishment", "The fool", "The demons" "The brothers Kamarazov" and "The teenager" from Fiodor Makhaïlovitch Dostoyevsky. It was in 1992 that this distinguished translator decides to engage in this giant company. Born in Ukraine, in Kiev, it was 16 years old when his father, survivor of Stalinist camps, died. It has 19 when the SS commandos liquidate Jews 30,000 to Babij Jar. In the company of her mother, she ran in Germany, where she is interned in a camp for workers in the East. After a senior official of the Ministry for the occupied territories did release, she decides to stay in Germany where she marries, has children and starts to translate from Russian to German. Vadim Jendreyko documentary does not merely to be an interesting reflection on coincidences and necessities of the translation. Svetlana formulas are fly. Multiple queries open many tracks. It shows in his daily life of mother, distressed by the accidental death of one of his sons, or careful and warm stove for her grandchildren. Most importantly, it follows for his first return to Ukraine, after exile of nearly seventy years, in the company of one of his granddaughters. Often silent, poignant scenes. On the snowy grave of his father, Svetlana picks up a stick and entrusts it to the girl that she reported in Germany where it will have to put it on the grave of his grandmother. A passage from witness touching and fraught with meaning.