Le Journal

Rendez-vous de 9 h à 17 h ce 24 janvier 2026. Le réseau des Chambres de Métiers et de l’Artisanat (CMA) organise, le 24 janvier partout en France, ses journées portes ouvertes. Dans le Lot, venez découvrir les opportunités offertes par CMA Formation Cahors. Alimentation, restauration et hôtellerie, tourisme et sport, maintenance automobile et autres […]

Ils étaient 15 à avoir fait le déplacement. Ce 20 janvier 2026, plus de 5 000 agriculteurs et près de 1 000 tracteurs se sont massés sous les fenêtres du Parlement européen à Strasbourg, à l’appel des principales organisations syndicales agricoles : la FNSEA, Jeunes Agriculteurs et le Copa-Cogeca. Une mobilisation d’ampleur, à la hauteur […]

Un samedi d’enfer. Ce samedi 17 janvier 2026, CahorSauzet Basket recevait Caraman BC pour une rencontre de Prénationale très attendue. Au terme d’un match longtemps indécis, les Cadurciens ont su hausser le ton au retour des vestiaires pour s’imposer avec autorité, lançant ainsi un week-end remarquable par un 100 % de victoires sur les 6 […]

Il mènera la liste « Ensemble, l’Avenir de Cajarc ». À l’approche des élections municipales de mars 2026, Patrick Forte officialise sa candidature à la tête de la liste « Ensemble, l’Avenir de Cajarc ». « Depuis près de deux ans, l’équipe municipale en place avait annoncé qu’aucun de ses membres ne souhaitait se représenter […]

Sir Lord Jimmy Crystal (Jack O’Connell) arrived in a postscript cliffhanger to last summer‘s 28 Years Later dressed in the tacky, eyesore garb—tracksuit, wig, and plastic jewelry—instantly recognizable to British audiences as an homage to Jimmy Savile, the media personality and philanthropist who was exposed as one of Britain’s most prolific sexual predators after his death in 2011. This completely unpredictable coda—a promise of what was to come in 28 Years Later: The Bone Temple—triggered a flurry of surprised, confused, and aghast reactions, and also demarcated which audiences knew about Jimmy Savile and which didn’t. But, disappointingly, The Bone Temple undercuts the months of theorizing and speculation about the narrative and symbolic significance of modeling a cult on a disgraced child sex offender celebrity. Throughout The Bone Temple, Sir Jimmy and his followers, or “Fingers” are never compared to Savile, nor does the leader share any insight into Savile’s cultural status in a world where he was presumably eaten alive years before the public learned of his crimes. (My own theory, that Jimmy’s Highland upbringing meant they were some of the very few who knew the truth about Savile, proved incorrect.) O’Connell’s performance isn’t an impression of Savile. Rather than adopting Savile’s nasal tone, he speaks in the posh Scottish accent of his childhood. But Jimmy does adapt one of Savile’s catchphrases (“How’s about that, then?”) into a priest-like call-and-response (“How’s that?”), usually to mark another rapturous and gnarly bout of ceremonial violence committed in the name of “Old Nick” (or as it sounds in Sir Jimmy’s Scottish accent, “Auld Nick”). Aside from being a strange, incongruous relic of an estranged pop culture (like Jimmy’s continued references to the Teletubbies, who witnessed the worst moment of his young life), the potency of dressing a murderous, post-apocalyptic cult in such a fashion is reduced to a nasty, uncomfortable joke: a plain-faced and provocative irony about something that seems innocent and friendly merely acting as a thin façade for unimaginable abuse and evil. But irony cannot be sustained without being challenged, and The Bone Temple squanders the chance to continue 28 Years Later‘s reflection on Britain’s history of self-soothing but hollow symbolism. It tees up a digression into thorny, ugly, and hyper-specific territory, only to sub out Savile for Satan. Savile was considered a national treasure, gladly uplifted by audiences, politicians, and charities who were also complicit in suppressing his victims’ voices. He wasn’t just a monster hiding in plain sight, but someone who used his public image as leverage to abuse vulnerable people. If responsibility for Savile’s perceived innocence fell on society’s shoulders, how would such a legacy be affected by the disintegration of society into a world of literal horror, where the kindest, most devoted people in your lives could turn into bloodthirsty killers in a matter of seconds? Would the institutional complicity that aided Savile suddenly become meaningless? Would monsters like Savile feel rewarded in a world of no laws or justice? These troubling, in-your-face questions float freely in your mind for about half of The Bone Temple, but not because the film invokes them. Rather, it’s because the provocative imagery raises an expectation that they will be worked into the subtext. But extended exposure to Jimmy and his Fingers confirms that these concerns are mostly irrelevant. Instead, Alex Garland’s script settles for more well-trodden explorations of demented cult leaders and more trivial material about the righteousness of violent men in a world gone mad. The note that 28 Years Later left audiences on was strange and sinister, but didn’t exactly promise immediate, miserable peril; in the opening of The Bone Temple, Sir Jimmy watches from a makeshift throne as Spike (Alfie Williams) must duel a Finger to the death for a place in his tribe.…