Laughing Deaths - Opened in Cannes with Jim Jarmusch's zombie movie

Laughing Deaths - Opened in Cannes with Jim Jarmusch's zombie movie

It was thought-provoking and embarrassing for Tuesday night's opening in Cannes. Well, not because anything extra had happened at the gala, where we applauded the members of the international jury and briefly remembered the recently deceased Agnes Varda. The shocking opening film by Jim Jarmusch, The Dead Don’t Die, which I haven't been able to decide for a long time, is whether it's the greatest bluff of an oeuvre or another genius. Finally, I decided on the latter.

To begin with, there are no heroes in this movie - the director told the press on Wednesday that they have adopted the basic thesis of George A. Romero's zombie films. Unlike all other Hollywood films, the monsters do not come from outside society, but are from us. That is, the zombie is a murderer and a victim in Romeroo and now in Jarmusch. & Nbsp;

Because, The Dead Don’t Die is a zombie movie. We see the plot from the perspective of a Centerville resident who gets the first roses of the apocalypse first-hand after the Arctic mines changed the axis of the Earth. We could tell with closed eyes what would happen in a success movie afterwards, but for Jarmusch, it happens that Iggy Pop digs up as a zombie in the cemetery, enters a local diner with a companion, and one of the victims is Bálint Eszter of Hungarian descent. musician). Then Iggy's realize that besides fresh meat they are addicted to coffee. Most playing time comes to three Centerville cops - Bill Murray, Adam Driver and the brilliant trio of Chloe Sevigny - who have nothing to do with the events. Let's just say they don't want to, because Driver's character tells you there's a zombie apocalypse and warns you at least ten times that it won't end well. Not because he read the script - it emerges from the scene when the actors do not shape their character, but themselves, and murray Jarmusch. No, I didn't spoiler it, Tilda Swinton, who was very effective with the samurai sword in the movie, told me at the press conference that she had read the script. Emphasizing: For Jarmusch, the screenplay and the finished film are two separate things, and they were quite surprised ... So, we, the viewers, have no chance of being entertained by the surreal humor behind which there is a significant creative message.

It is very difficult to categorize Jarmusch's new cinema, perhaps the best that the Liberation critic has come up with: a tautological comedy. As we laugh at the end of the world, with a bold dramaturgical twist, it makes it clear that we are the zombies, the people, the dubious values ​​of consumer society, who are devouring the planet. Jarmusch does justice to his film. And when asked if he thought it was a political work, he said it would be very confusing for him to think that it was an ecological disaster policy. Rather, he wants to influence the individual conscience. He believes the future of our planet is in the hands of young people and those thrown out by society. Let the cartoons go!

Joci Pápai was the seventh after the Cypriot, Montenegrin, Finnish, Polish, Slovenian and Czech productions in the second semifinal of this year's Eurovision Song Contest on Tuesday, in Tel Aviv, co-written with Ferenc Molnár Caramel, My Father.

The 37-year-old singer is the first to represent our country for the second time in the 64th song competition. Originated in Kiev in 2017 with a dancer and a violinist, she came in eighth place with a total score of 200 points from a professional jury and audience.

This year's production was brilliant in its simplicity, this time without dancers, musicians, backing singers, with special special effects, in black attire, standing alone in front of the tens of thousands of viewers, and its barefoot performance was particularly refreshing in a series of pop pops. He sincerely and clearly sang the ballad, crazy about Hungarian folk music motifs. And while the latter, that is, the purity of the vocals, was not to say about all of the rivals, this didn't seem to bother the jury and the audience, and this time, perhaps due to a lack of show stuff, romance, or banter, among the top ten countries.

For the Saturday 16 May finalists, the top 10 players selected from the 18 semifinals of Thursday's second semi-final, along with current promoters Greece, Belarus, Serbia, Cyprus, Estonia, Czech Republic, Australia, Iceland, San Marino, and Slovenia, without the semi-finals, the top five qualifying countries, the United Kingdom, France, Germany, Italy, Spain, and Israel, which won last year's victory, will automatically join the finals. Thus, a total of 26 will win the race. & Nbsp; & Nbsp;

He entertains and philosophizes in the twenty-four-year-old Adam Vajna's poem volume, Oda, for which he was awarded the Makoi Medals for the first volume poet this year. The volume is densely woven, with over seventy pages full of historical, geographical and literary references. Because the young author does nothing less than make statements, or rather questions, about the recent and ancient past, ideologies, their motives, and contemporary poetry.

In the latter way, Vajna does not ask questions about well-known historical figures and situations, but quotes peripheral, little-known persons or events. In one of his poems he conveys the thoughts of the Princess of Castile, who died in her cot at the age of thirteen, and the other writes of Sir Walter Lawry Buller's New Zealand ornithologist's doubts about himself and ornithology. Other times it focuses on a country or city, asking questions about Slovenia, Montenegro or Rijeka. This is how the volume speaks of revolution, of God, of civilization or of the relationship between man and religion. "I've always been interested in what small events have had an impact on today," says Vajna. For example, in his poem "The Rise of Fiume," it rains in the harbor city, causing people to tremble under the canopy of the café, and, lastly, one of them "had a comrade under his heart". One day the revolutionary goes through the stations of a social rebellion in a poem, but by the time his hero begins to speak, he is suppressing the revolution so he "puts his poem among others and / goes home for dinner."

"The creator wants to understand himself and his place in the world," says the author, who, while writing, sought not to write about current public life topics, but to capture general processes. That is why he expanded the horizon of the volume to the Middle Ages, evoking the knights breaking the spear, the Baroque scholars, or the Renaissance painter, Albrect Dürer. The volume is not only versatile due to the figures and figures quoted but also sometimes in verse to verse or verse to verse. She could easily mix the old words with today's jargon, incorporate folk poetry, hexameter, or even melodic, even singable lines, each with a note. "I like playing with form," he says, as evidenced by the single two-line verse of the volume, to which the poet has added a page footnote.

The rich interest of Adam Vajna can be partly explained by his career. "I usually say that I am Transylvanian in spirit, who was born in Budapest but grew up at Lake Balaton," he says. His grandmother and his cousins ​​live in Transylvania, but he spent his childhood and youth in Balatonkeresztúr, then went to grammar school in Hévíz. Vajna considers the southern part of Lake Balaton important both geographically and historically because of its close proximity to the Slovenian and Croatian borders, while being lucky enough to get to know the Zala culture. His interest did not stop in the Hungarian and Central and Eastern European regions, and he applied for a degree in Scandinavian Studies at the university, where he immersed himself in Norwegian. So much so that he had read Knausgård in the original and also visited the Norwegian cult writer in Oslo for writing his regular thesis on it. He plans to compare the Scandinavian and Hungarian public lyres in his doctoral studies in the future. Then who knows, this is where new poems might come from.