The weekend film lineup offers a striking contrast between high-stakes survival horror and intimate personal reckonings, revealing how cinema continues to grapple with both external threats and internal demons.
Lesinfos.ma highlights three distinct offerings for moviegoers this weekend. Leading the slate is Ready or Not 2: Here I Come, the direct sequel to the 2019 hit, which picks up immediately after Grace’s ordeal with the Le Domas family. Now allied with her estranged sister Faith, she faces a deadly rematch orchestrated by Mr. Le Bail’s High Council, where four rival families hunt her to claim the ultimate seat of power. The film expands the original’s satirical take on elite cults into a broader mythos of generational violence and inherited obligation.
Second on the list is Thank You Satan, a darkly comic thriller set in 1993 Paris. Directed by Hicham Lasrien, it follows Serge, a disillusioned night hotel clerk aspiring to literary fame, whose routine shatters when a fatwa-threatened writer takes refuge in his workplace. The film uses this collision to explore fear, identity, and the lure of radicalization, blending satire with psychological tension to interrogate how ideology infiltrates ordinary lives.
Rounding out the recommendations is L’enfant du désert, a dreamlike tale centered on 14-year-old Sun. Inspired by her grandfather’s story of Hadara—a nomadic child lost in the Sahara and raised by ostriches—Sun embarks on her own desert journey, only to identify the line between myth and reality dissolving as she confronts the landscape’s silence and scale.
Meanwhile, Le Soleil’s weekly critiques offer a different kind of cinematic introspection. André-Line Beauparlant’s documentary Mon amour, c’est pour le restant de mes jours emerges from three decades of shared life and art with Robert Morin. Framed as an attempt to understand her partner through their intertwined creative histories, the film becomes a portrait of marital strain, tracing Morin during the grueling shoot of Festin boréal while Beauparlant seeks connection not through dialogue but through their respective bodies of perform.
The satire continues with Jean-Paul Salomé’s Le faux-monnayeur: L’affaire Bojarski, starring Reda Kateb as Jan Bojarski, the elusive French counterfeiter whose undetectable 1950s–60s forgeries earned him the nickname “the Cézanne of counterfeit money.” While rooted in true crime, the film hesitates to fully commit to its dramatic potential, drifting between human drama, social commentary, and police procedural without settling into a cohesive tone.
Kristoffer Borgli’s L’aveu brings Zendaya and Robert Pattinson together as a couple on the verge of marriage who, during a pre-wedding tasting with friends, reveal their darkest secrets. The confession game triggers irreversible shifts in their relationship, suggesting that total honesty—while seemingly virtuous—can unravel the foundations of intimacy.
Finally, the Dardenne brothers’ Super Mario Galaxy le film attempts to translate Nintendo’s cosmic platformer into animated form. Acknowledging the inherent challenges of adapting gameplay to narrative, the film leans into Yoshi’s introduction to boost its comic rhythm and appeal directly to Mario fans through dense video game references. While not aiming for animation’s highest honors, it delivers a light, family-friendly experience rooted in playful familiarity.
The weekend’s programming reveals a tension between escapism and confrontation: whether through supernatural survival games, psychological unravelings, or poetic desert journeys, each film invites viewers to stare into different kinds of abysses. Yet even in moments of levity—be it the Dardennes’ Nintendo homage or Lasrien’s satirical Paris—there’s an undercurrent of unease, as if the act of entertainment itself has become a way to process deeper anxieties about trust, legacy, and the stories we tell to survive.
How does Ready or Not 2 connect to the first film?
It picks up immediately after Grace survives the Le Domas family’s deadly ritual, with her being transported to the hospital before learning she’s triggered a rematch against the High Council.
What makes Thank You Satan thematically distinctive?
It uses the setting of a 1993 Paris hotel to explore how ideological threats like fatwas disrupt ordinary lives, blending black humor with tension to examine fear, identity, and radicalization.
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