Dungeons and Dragons, Soulmates, Suzume… Which movies should you see or avoid this week?

Drama by Colm Barrett, 1h36

She's 10, and she won't let anyone say it's the best age in life. In her family, she does not exist. There are too many siblings. In addition, his mother is still expecting a baby. Cait (Catherine Clinch) is silent, looks down, folds her hands over her stomach. Her parents don't know what to do with this taciturn kid. The solution is to ship it to cousins ​​for the summer. The change is radical. We take care of her, consider her. She doesn't seem like a burden. We time the time it takes to get the mail from the mailbox. She breaks records, finally breathes. The pond is so clear that you can drink its water. Based on a short story by Claire Keegan, shot in Gaelic, The Quiet Girl, Colm Bairéad's first film, is touched by grace. This silent drama floats, aerial. Infinite attention to detail, absolute sobriety, presence of nature, beauty at all times, it already has the patina of a classic. IN.

Thriller by Thierry Binisti, 1h40

This is a social thriller that looks like a cold shower. It stings, it surprises, it's freezing, but it wakes you up and it feels good. Firstly because the heroine, a young single mother played by Alice Isaaz, is desperate to recover enough money to repair the hot water tank in her bathroom. She insists on bathing her 8-year-old son Enzo with all the comforts. Then, because beyond the theme of migrants who want to cross the Channel to England at all costs, we come out of the Prix du passage with our nerves on edge, aware that a happy existence hangs by a thread. Thierry Binisti (L'Outremangeur, A bottle in the sea) followed in the footsteps of Welcome by Philippe Lioret. His film, well-paced, thrilling, makes you feel the panic fear of being caught red-handed on board a ferry leaving for Great Britain. O.D.

Documentary by Florian Heinzen-Ziob, 1h52

Dance freaks should rush all ceaseless business to Dancing Pina. The documentary makes the big difference, between the Semperoper of Dresden and the School of sands of Dakar. Directed by Florian Heinzen-Ziob, it is one of the most exciting moments of dance that we can afford. The purpose: to follow by crossing the transmission of two works by Pina Bausch. In Dresden, Malou Auraido revives Iphigénie en Tauride on dancers from the Semperoper. The atmosphere is that of an opera with dancers from ballet schools, mirrors and vast studios. In Dakar, Josephine Ann Endicott revives The Rite of Spring on dancers from all over Africa brought together here by Germaine Acogny. The genius of this documentary is to stage this question that has lasted since Pina Bausch signed her first plays: “ What is Pina Bausch? How to dance his ballets, how to blend our gestures into his research? Between these questions, sublime images. Beauty at the top. A.B.

Film d'animation by Makoto Shinkai, 2h02

Enchantments still blow in the world, just grasp them. Suzume hits them in the face. The high school student lives in a rural town on the island of Kyushu, in southern Japan. She is 17 years old ; it is the crossroads. On the sideboard, the lost young girl meets a mysterious boy. Hair in the wind and quickdraw of rocker on the run, he is looking for a place that has fallen into ruins. The devastated site contains a strange door where a world of enchanted reflections sparkles. A demon emerges from it, takes the form of a titanic worm, stretches above the neighboring agglomeration and threatens to descend in a terrible earthquake. It is up to the young girl to help Sôta then to accompany him in pursuit of the capricious kitty, towards the first port that comes along. Makoto Shinkai constantly holds the reins to melodrama and lets fantasy, poetry and humor waltz together. It is about putting the world - that is to say oneself - back in line. The origin of the malaise dates back to the tsunami of 2011. A portrait of Japan is hidden under this wonderful journey. S.C.

Drama by Cristèle Alves Meira, 1h28

A village in Portugal, under a burning sun. Little Salomé visits her family. When she is not playing with her cousins, she watches her grandmother converse, a rosary in her hand, with the spirits of the deceased. She would have, it seems, the same power. The director makes a delicate and realistic chronicle of a strange summer. B.P.

Drama by André Téchiné, 1h40

The older André Téchiné gets (80), the more he strives to film youth. This is again the case in Les Âmes sœurs, whose opening scene could not be more rooted in geopolitical news. A tank of the French forces engaged in Mali jumps on a mine. David (Benjamin Voisin) is seriously injured in the explosion. Repatriated to France, the young lieutenant wakes up at the Invalides, amnesiac. In Ariège, his sister Jeanne (Noémie Merlant) lives with her dog in the family home. She will collect and care for David. The brother and sister grow closer and try to rekindle David's memory. Him especially, quick to slip into his sister's bed. He likes her to rub ointment on his burnt chest. Here, ambiguity takes the step of incest, a secret buried by David's amnesia. But despite this erotic suspense, Téchiné struggles to make bodies and hearts vibrate. This story of an extraordinary love, which is above all that of a breakup, does not have the graceful harshness of Wild Reeds, a love triangle against the backdrop of the Algerian war. That was almost thirty years ago. E.S.

Levan Koguashvili's Polar, 1h3

Medical student, you speak. Sosso moves house to pay off his gambling debts. His father, a former wrestling champion, has to leave Tbilisi for Brooklyn and come to the rescue. Colorful characters, greenish atmosphere, long gray beaches, back rooms of gambling dens, the film strikes with its just tone, its muted disenchantment, its pessimism with Georgian sauce. IN.

Fantasy film by Jonathan Goldstein and John Francis Daley, 2h14

A charming thief (Chris Pine) and an unlikely band of adventurers seek to recover a lost relic. Unpretentious, rhythmic and light, this uninhibited version of the Lord of the Rings film-style robbers with a fantastic medieval sauce has a lot of assets to please the greatest number. O.D.

Drama by Alexis Michalik, 1h30

Alexis Michalik abandons the theater to adapt his eponymous play to the cinema. This love triangle between a brother, a sister and a lover gets off to a flying start. Quite quickly, alas, this contemporary romantic tragicomedy descends into repetitive lacrimal melodrama. We salute the acting of the actors (the same as the play), imbued with accuracy with beautiful outbursts of sincerity. O.D.

Comedy by Cécilia Rouaud, 1 h 38

Max (François Damiens), a ruthless contract killer, has been thinking of retraining since he fainted at the first drop of blood. A couple of neighbors, Stéphanie (Laura Felpin) and Karim (William Lebghil), help him get into the real estate company they work for. The trio is very funny, but the scenario turns in circles. The director doesn't seem to know what to do with her characters. It looks like Pierre Salvadori in less. E.S.