{"id":24102,"date":"2019-12-02T08:10:38","date_gmt":"2019-12-02T07:10:38","guid":{"rendered":"https:\/\/www.arte.tv\/sites\/olivierpere\/?p=24102"},"modified":"2020-04-03T17:46:07","modified_gmt":"2020-04-03T16:46:07","slug":"millenium-actress-de-satoshi-kon","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2019\/12\/02\/millenium-actress-de-satoshi-kon\/","title":{"rendered":"Millenium Actress de Satoshi Kon"},"content":{"rendered":"<p><strong>Disparu pr\u00e9matur\u00e9ment en 2010 \u00e0 l\u2019\u00e2ge de 46 ans, apr\u00e8s avoir r\u00e9alis\u00e9 quatre longs m\u00e9trages, Satoshi Kon n&rsquo;\u00e9tait pas seulement un g\u00e9nie de l&rsquo;animation nippone. C&rsquo;\u00e9tait un grand cin\u00e9aste tout court. Si les cin\u00e9mas asiatique et am\u00e9ricain cherchent de plus en plus leur inspiration visuelle dans l&rsquo;animation, Satochi Kon, de toute \u00e9vidence cin\u00e9phile dans le sens \u00ab\u00a0classique\u00a0\u00bb du terme, semblait concevoir ses dessins anim\u00e9s comme des films en prises de vues traditionnelles, sans effets sp\u00e9ciaux et avec de vrais acteurs. Si Hayao Miyazaki est un grand artiste visionnaire, \u00e0 l&rsquo;instar de Kurosawa ou Fellini, son univers est indissociable des techniques et des possibilit\u00e9s de l&rsquo;animation, prolongement pictural du cin\u00e9ma qui repousse les limites du r\u00eave et de l&rsquo;imagination. Cette constatation s&rsquo;applique \u00e9galement aux meilleurs films de science-fiction japonais qui ont depuis longtemps d\u00e9laiss\u00e9 les prises de vues r\u00e9elles au profit du dessin puis des images de synth\u00e8se. Satoshi Kon proc\u00e9dait au mouvement inverse. Chez lui, le r\u00e9alisme du style ouvrait des perspectives infinies, des odyss\u00e9es mentales.<\/strong><\/p>\n<p><strong>Le second film de Satoshi Kon apr\u00e8s le g\u00e9nial thriller conceptuel <em>Perfect Blue<\/em> (1997), <em>Millenium Actress<\/em> (<em>Sennen joy\u00fb<\/em>, 2001) est encore meilleur et prolonge le pr\u00e9c\u00e9dent. Deux journalistes de la t\u00e9l\u00e9vision, dont un ancien assistant de studio, vont interviewer une vieille dame qui fut une grande vedette du cin\u00e9ma et vit d\u00e9sormais recluse. L&rsquo;entretien nous permet de revivre \u00e0 la fois l&rsquo;histoire du si\u00e8cle, la guerre, les diff\u00e9rentes p\u00e9riodes du cin\u00e9ma japonais, et le destin professionnel et priv\u00e9 de l&rsquo;actrice. Le fil d&rsquo;or qui relie ces retours en arri\u00e8re est une cl\u00e9 confi\u00e9e par un myst\u00e9rieux inconnu que la jeune femme aimera et poursuivra toute sa vie apr\u00e8s une unique et br\u00e8ve rencontre. <em>Perfect Blue<\/em> \u00e9tait un polar horrifique, <em>Millenium Actress<\/em> un m\u00e9lodrame, mais les deux films partagent la m\u00eame ambition et la m\u00eame id\u00e9e du cin\u00e9ma, follement inventive, riche et ambitieuse, le d\u00e9sir aussi de parler en m\u00eame temps de la soci\u00e9t\u00e9 du spectacle, de la confusion des sens et des sentiments. Satoshi Kon m\u00eale l&rsquo;histoire du Japon et de son cin\u00e9ma, les extraits de films et la biographie de son h\u00e9ro\u00efne avec une virtuosit\u00e9 qui doit tout au montage et rien aux possibilit\u00e9s sp\u00e9cifiques de l&rsquo;animation. Les deux reporters s&rsquo;incrustent dans le voyage dans le temps, en t\u00e9moin muets puis en commentateurs et enfin participent \u00e0 l&rsquo;action. On pense \u00e0 Alain Resnais et \u00e0 <em>Un jour sans fin<\/em>. La dimension conceptuelle du film pr\u00e9c\u00e9dent demeure, mais elle s&rsquo;enrichit d&rsquo;une \u00e9motion \u00e0 fleur de peau. L\u2019angoisse de la sexualit\u00e9 c\u00e8de la place \u00e0 la projection amoureuse, l&rsquo;horreur \u00e0 la d\u00e9sillusion, mais Satoshi Kon s&rsquo;int\u00e9resse toujours autant \u00e0 la psychologie f\u00e9minine (le but de la vie de son h\u00e9ro\u00efne n&rsquo;est pas de trouver son amant r\u00eav\u00e9, mais d&rsquo;\u00eatre sans cesse \u00e0 sa recherche), au r\u00f4le et \u00e0 la situation ali\u00e9nante de la femme dans la soci\u00e9t\u00e9 japonaise.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Pour de fallacieuses histoires de droits de remake achet\u00e9s par un studio am\u00e9ricain, <em>Millenium Actress<\/em> avait d\u00fb se contenter en dehors du Japon d\u2019une tardive distribution vid\u00e9o. \u00c9dit\u00e9 en DVD, mais jusqu\u2019ici in\u00e9dit dans les salles fran\u00e7aises, <em>Millennium Actress<\/em>\u00a0est enfin visible sur grand \u00e9cran comme il le m\u00e9rite, en version restaur\u00e9e 4K, gr\u00e2ce \u00e0 Septiem Factory. On esp\u00e8re que le m\u00eame miracle se produira bient\u00f4t au sujet du troisi\u00e8me film de Satoshi Kon, le chef-d&rsquo;\u0153uvre humaniste <em>Tokyo Godfathers<\/em> (2003), relecture anim\u00e9e et tokyo\u00efte du <em>Fils du d\u00e9sert<\/em> (<em>Three Godfathers<\/em>) de John Ford.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Sortie mercredi 18 d\u00e9cembre, distribu\u00e9 par Septiem Factory.<\/strong><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Disparu pr\u00e9matur\u00e9ment en 2010 \u00e0 l\u2019\u00e2ge de 46 ans, apr\u00e8s avoir r\u00e9alis\u00e9 quatre longs m\u00e9trages, Satoshi Kon n&rsquo;\u00e9tait pas seulement\u2026<\/p>\n","protected":false},"author":116,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Millenium Actress de Satoshi Kon - 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