Cinema: "Neither seen nor known" seduces, "The Miserables" divide, "The Corset" gathers

What to choose this week? "Le Corset" enjoys converging favourable opinions, while "Les Misérables" raise reserves of varying intensity. The French and Swiss selections overlap, without announcing exactly the same new features: "Neither seen nor known", recommended in the French press, was already released in France on 7 October. The other French outings mentioned here are announced for October 14, 2026. [S1] [S2] [S5] [S8]

"Neither seen nor known": a comedy to enter the scenes

In Marc Fitoussi's film, Isabelle Huppert plays Corinne Maclou, an extra who is determined to finally get a role. His meeting with Sandrine Kiberlain gives him hope for a place in an environment where proximity to the stars does not guarantee professional recognition. Personal ambition and dependence on those who can open doors nourish comedy. [S5] [S8]

Pascal Gavillet recommends the film in the same article published in 24 hours and the Geneva Tribune: it is therefore not two independent opinions. He appreciates the self-deteriority of performers and how the narrative points to the social disparities in cinema. His reservation is precise: this satire could be more cruel and takes little risk. A proposal for who first seeks a character comedy, rather than an account settlement. [S5] [S6]

"Le Corset": the most consensual choice

Louis Clichy's animated film follows Christophe, an eleven-year-old boy who grew up in a French farm in the 1980s. His orthopaedic corset exposes him to mockery; music and his encounter with Clara broaden his horizon. Libération recommends this emancipation story, Le Nouvel Obs grants him four out of five stars and Pascal Gavillet salutes his design, rhythm and softness. [S1] [S2] [S5]

The Inrockuptibles bring a nuance: the learning story remains classical, but the hero scoliosis becomes a real principle of staging, which distorts the real. The magazine also highlights a representation of the rural world attentive to its constraints without reducing its inhabitants to caricatures. For the viewer, the interest lies as much in this visual invention as in the journey of a child seeking his place. [S4]

« Les Misérables »: a show whose choices are debated

Fred Cavayé brings together Vincent Lindon in Jean Valjean and Tahar Rahim in Javert in an adaptation of 2h56. The New Obs awards him three out of five stars. Pascal Gavillet considers the result functional, but too long and an obvious necessity. These moderate assessments contrast with the rejection of Libération, which blames the film for a political contradiction. [S1] [S2] [S4] [S5]

The disagreement mainly concerns what adaptation retains of Hugo. In Slate, Jean-Michel Frodo defends freedom to adapt, but believes that psychology and family ties here take precedence over the social and political significance of the novel. Olivier Joyard, in Les Inrockuptibles, recognizes a readability of emotions, especially around Fantine, Marius and Cosette, while regretting an efficiency that stifles the revolt. These critical judgments do not constitute a unanimous verdict: they clarify the expectations with which to approach the film. [S3] [S4]

"Minotaur": mastery seduces, coldness divides

The distributor confirms the French release of "Minotaure" on 14 October, its duration of 2h20 and its inspiration drawn from Claude Chabrol's "La Femme infidele". Andrei Zviaguintsev places the story in Russia in 2022, around a businessman whose family and professional life is turning into violence. [S7]

The Inrockuptibles salute the accuracy of the criminal narrative. Slate considers the coldness of the realization relevant to articulating private violence and political context; On the contrary, Pascal Gavillet sees a mechanic too calculated, poor in emotion. Another difference in reading: Libération speaks allegory, while Frodo refuses to reduce the film to a metaphor. In his description of the story, mobilisation pressures on companies also become an instrument of the hero's personal maneuvers: political compulsion does not erase his responsibility. This is a fictional construction. [S1] [S3] [S4] [S5]

Other ways to choose your session

For a cinema of conversation, Libération and Les Inrockuptibles recommend "The Day of His Return", of Hong Sang-soo, around an actress interviewed by three journalists. For the documentary, "Who still lives", by Nicolas Wadimoff, gathers nine testimonies of Palestinian refugees in South Africa; Slate highlights a device of markings on the ground that restores the places left and singularizes the routes. Finally, "The Gate of the Gods", a film from Taiwan in 2002, is a cover, not a novelty. Separate proposals to choose according to his desire to meet, witness or discover the heritage. [S1] [S2] [S3] [S4]