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Avis des critiques
High Life
Claire Denis France, 2018
Uncompromising and enigmatic, High Life relinquishes nothing of the philosophical and visual force, the difficulty and seductiveness, that have made Denis’s films among the most compelling of contemporary cinema.
May 10, 2019
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This is an alternately disturbing, intellectually stimulating, scary, erotic, and revolting collection of moments that you’re supposed to watch, listen and react to, not necessarily process as one might a traditional linear narrative, or some kind of cinematic equation that can be unlocked like the final level of a videogame.
April 05, 2019
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As is often the case in Denis’s movies, “High Life” vibrates with low-key erotic energy that can feel exciting, a little dangerous. 
April 04, 2019
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High Life is a chilly, ruminative film, brilliant if not exactly likable. But Pattinson, the movie’s thumping heart, is superb.
April 04, 2019
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Denis sidesteps the genre’s blood-curdling tensions (Alien) and atmospheric grandeur (2001: A Space Odyssey), instead focusing on beautifully hypnotic sequences that owe a clear debt to Andrei Tarkovsky’s dreamlike Solaris. High Life is less concerned with the perpetual void of space than with its impact on the human body, composed of “star stuff” but also spit, breast milk and blood.
April 03, 2019
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High Life is a film that deliberately overturns expectations on virtually every level.
March 12, 2019
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Sex drive and death seem to merge here, as they do on a grander scale in the film’s ambiguous climax, a teetering on the edge of penetration that might be taken as consent to suicide or an invitation to consummate, having reached the age of consent. It is a vision both carnal and cosmic, sacred and profane—and there is no other filmmaker who could’ve brought us to this particular, precarious point.
March 01, 2019
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In any other setting we’d call Pattinson’s character a cipher; here he’s endowed with the weight of infinity, Kubrick’s star child achieving full form.
October 02, 2018
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The shock and richness of High Life are wonderfully enchanting and perplexing, and that even if much of the film seems to re-map familiar territory, it does so in unfamiliar ways; its DNA, let’s say, is substantially but subtly deviant.
September 28, 2018
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Genre movies are something of a rarity in the main slate, but Ms. Denis’s daring, dialectical sensibility, her shrewd fusion of the visceral and the cerebral, transcend genre.
September 27, 2018
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A film from the outer reaches of the mainstream, confronting you with questions you hadn’t thought to ask and images you never knew you needed to see.
September 14, 2018
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This being Denis, none of this is telegraphed or explained in any particularly satisfying manner, which makes it all the more satisfying. What matters more to the moment-to-moment experience of the film are the physical interactions between the passengers (some of which are disturbingly violent), and the all-consuming sense of eroticism and dread they engender.
September 13, 2018
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I think we can agree—[If Beale Street Could Talk] is lovely, it’s for the right things—but disagreement is the sign of a complex film, and I might choose High Life’s beguiling unevenness as a more seductively provocative viewing experience, betraying expectations, challenging norms, and leaving us bewildered but thrilled.
September 12, 2018
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You know you’re watching a Claire Denis movie when it dares to announce its perverse psychological undercurrents from the get-go, just speaks them aloud to spare us the effort of having to suss them out. And you know you’re in a Denis movie set in outer space when the movie goes out of its way to disobey all the rules—of genre, yes, but even of gravity.
September 12, 2018
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Denis’ English-language debut is confronting, morbid and frequently dazzling.
September 11, 2018
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One gets the sense that Denis herself is hitting walls of ideas, sitting in a lab with test tubes, scratching her head as she stirs and mixes, asking questions and altering them in real-time. But this experiment of hers, however lofty, is an undeniable masterpiece.
September 11, 2018
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The film seems closer (at least for me) to Denis’ more recent features 35 rhums and Bastards with their disparate but linked visions of excessive paternal affection. Although if somebody were to suggest an entirely different read on this defiantly abstract, metaphorically spacious, and deliberately artificial-looking UFO of a movie, I’d gladly hear them out.
September 10, 2018
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This kinky, often grotesque melding of genre science-fiction with all-out body horror is an audacious project, but the scope of its ambition is cleverly reined in by the low-key presentation, its more salacious potential muted down to an insistent threatening hum, like the background radiation of Stuart Staples’ score.
September 10, 2018
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The film asks down-and-dirty questions about what really resides beneath thousands of years of human progress, a savage and haunting antidote to the high-minded idealism of movies like Christopher Nolan’s Interstellar and Ridley Scott’s The Martian.
September 10, 2018
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