In Cannes he risks winning another oriental film, the only ones left to tell stories

In Cannes he risks winning another oriental film, the only ones left to tell stories

Presented "Parasite", shot by the Korean Bong Joon-ho. & Nbsp; A magnificent story of servants and masters. Drama, melodrama, horror, social satire, familiar tenderness in difficulty

Narcissism champion - a sport very practiced this year at the Cannes Film Festival - was Xavier Dolan with "Matthias and Maxime": the thirty year old ex Canadian prodigy boy (he was launched by Quinzaine in 2009 with "J'ai tué ma mère", " one man film ”written direct produced and recited). As a matter of habit, a notable desire for strawberry is drawn on the cheek, like the actresses who get ugly in view of the Oscars. He has the part of Maxime, who is about to leave for two years in Australia (his mother is a hangover and screaming, here also a former drug addict, typical of his films). Matthias is his childhood friend, now he is a lawyer. For the short film of a friend who has to graduate, they are forced to kiss each other (without having known it before). The whole film suffers the consequences. Will it be love? Will Maxime not leave anymore? Will they finish drinking beer, dancing at the disco and playing charades? Will the lawyer stop being so obnoxious? (pity, because he is the only one to speak understandable French, otherwise subtitles are needed).

Out of competition, Abel Ferrara with "Tommaso". That is: the life of the director in Rome after detoxification from everything. He goes to take Italian lessons, goes home and throws the pasta (orecchiette, his wife has already prepared the sauce), goes to anonymous alcoholics, teaches in a theater school. The actor is Willem Dafoe who had previously been for the director Pier Paolo Pasolini (in Rome they live close together, in the parts of Piazza Vittorio already immortalized in a documentary). The house is the real house, the wife is the real wife, the daughter is the real daughter, the yawns of the viewer are real yawns.

When a film that finally tells a non-umbilical story appears on the horizon, joy is supreme. The awakening from numbness comes thanks to "Parasite", shot by the Korean Bong Joon-ho. He was the director of "Snowpiercer", based on the comic by Jean-Marc Rochette and Benjamin Legrand: all aboard a train, where the survivors of the second ice age try to survive (the miserable) and to quell the riots (the privileged in the head carriages). The world has frozen over because Greta's followers have tried to cool it down, mistaking the doses of the magic powder - someone tell Leonardo DiCaprio who took advantage of the passage to Cannes to promote Leila Conners' documentary "Ice on Fire". It acts as a narrative voice, and illustrates the solutions to the climate crisis. Two years ago, Bong Joon-ho was in competition with the "Okja" pig, produced by Netflix. Before the veto that hijacked Alfonso Cuarón's "Rome" towards the Venice Film Festival.

"Parasite" is a magnificent story of servants and masters. It starts in a filthy basement, where a family lives who folds pizza cartons to live (in the alley, at night, many drunks pee, no signs are needed). It ends up in a bunker under a luxurious house, designed by an architect and held like a mirror by a faithful housekeeper. The son of the poor manages to infiltrate by giving repetitions of English to the daughter of the rich (the diploma is not false, the young man, only premature, self-justifies himself, sooner or later plans to finish his studies). The daughter of the poor sneaks in shortly after: the child of the rich makes disturbing drawings, she pretends to be a psychologist specialized in art therapy. The father settles down as a driver. The mother as housekeeper (here the tricks are more elaborate, only the boy has some suspicions: "Mom, they all have the same smell").

It begins as Joseph Losey's "servant" (based on the novel by Robin Maugham, grandson of William Somerset Maugham) and accumulates twists by jumping from one genre to another without lowering the tension, as happened in "Snowpiercer". Drama, melodrama, horror, social satire, familiar tenderness in difficulty (even extreme, the viewer cannot imagine how much). In this it looks like "Shoplifters - A family affair" by Hirokazu Kore'eda, winner of the Palme d'Or last year. The east could do it again.

Film critic, he studied philosophy and began to deal with cinema for Italian Swiss radios. He has been working for Il Foglio since the first issues and has translated the stories of Edgar Allan Poe. He collected the reviews of a year of work in a book of the Sheet that took its name from the site's column, Nuovo cinema Mancuso. In 2010 Rizzoli updated and reprinted Nuovo cinema Mancuso, with the participation of Giuliano Ferrara and Aldo Grasso.