One of the first two series of our record, “MO12345lemonde of tomorrow”, wanted to grasp a moment when everything is possible, stage the 1980s as if it were the present moment.
by Thomas Sotinel
The first two series of our record are – one of the two titles indicates it – turned towards the future. Admittedly, MO12345lemonde of tomorrow is located at the beginning of the 1980s. But its creators, Katell Quillévéré and Hélier Cisterne, wanted to grasp a moment when everything is possible, stage the past as if it were the moment here. The most formidable is that they succeeded, without apparent effort, restoring the nascent hip-hop of NTM and Dee Nasty its radical novelty.
The rebels of Andor, the series that Tony Gilroy extracted from the Star Wars deposit, work in the advent of beautiful tomorrows, against an arc-bouted opposition on a gray and repressive present, a political and historical point of An acuity that we did not expect from the firm that Walt Disney bought to George Lucas.
For the rest, the series that marked 2022 all under the weight of the past. Oussekine, for example, the unexpected first French fiction proposed by Disney +. The meticulous account of the death of the student who fell under the police and his repercussions is located almost at the same time as MO12345lemonde of tomorrow. But the series of Antoine Chevrollier contains all the regrets that leave the occasions missed in these years.
Childhood and history
Irma Vep, the game of autobiographical mirrors of Olivier Assayas, searches both the intimate memories and the history of cinema to better stage the vertigo that seized the art invented by the Lumière brothers at the end of the pandemic. One of the most elegant movements in the series is to build the thread that links the childhood of cinema nourished by episodic fiction and the surge of series triggered by the appearance of paid channels, vampires, the cinefeuilleon that Louis Feuillade has Directed in 1915 to the multinational series, star of movie stars (Alicia Vikander, Lars Eidinger, Jeanne Balibar …) that Assayas directs.
The past, it is also childhood that we carry around throughout her adult life. The best example is the talented leader of The Bear, who comes to atone for his sins of sons and brother in a boui-boui in Chicago. On the same register, we could have slipped somewhere in this ranking The extraordinary heroine (physical and behavioral) of Somede Somedhere which returns to her small hometown of the Midwest and the high school girls of Yellowjackets, survivors of an air catastrophe whose Souvenir hovers like a black cloud on their present.
Childhood and history often merge. The chaotic wanderings of the Russian doll heroine (Russian Doll) bear witness to this. The series created by Natasha Lyonne took an unexpected tour in her second season, using the procedures of fantastic fiction to sketch a novel from the origins that has taken its New York protagonist to Europe at the time of the Shoah that Fuie Fuie His grandmother. We did not expect to see Miss Marvel, the teenage superheroine who grows in New Jersey, between high school and mosque, precipitated in the tumult of the partition of India and Pakistan.
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