Lesbian love brought hope to Cannes | 24.hu
The Dardenne brothers were disappointed and Terrence Malick was more exciting. We bought Bong Joon-ho's morbid social critique of jokes, and the director of The Gossip came with a costume-loving movie that almost no one could resist.
The 72nd Cannes Film Festival is coming to an end, and most of the major filmmakers in recent days have gone on to make new creations. There have been many disappointments, but there is no reason to sleep, overall this year's lineup is strong if we haven't really seen a brain-throwing masterpiece.
The 38-year-old French director, Céline Sciamma, has long been worshiped here for her first film, Water Lilies, in the Certain Regard section in 2007, and the Chick was a huge success at Director's Week two five years ago. The audience welcomed the director at a premiere of his new film Portrait of a Flaming Lady (Portrait of a Flaming Lady), which had been greeted by a standing ovation for several minutes before the screening - it would have been embarrassing for the applause to be smaller lesbian love movie.
In the story of the second half of the 1700s, a young painter, Marianne (brown-haired, hot-brown-eyed Noémie Merlant), is commissioned to paint the portrait of her husband Héloïse (blonde, skinny Adèle Haenel) before she gets married for. We soon find out why Sciamma, who has been making feature-only films today, went back about 250 years: the era provides an opportunity to talk about the oppression of women, disconnected from current discourse, and thus focus our attention on the personal level. Marianne can't become a painter because she has very limited opportunities as a woman, and Héloïse is forced into someone she has never met before, but when here in Brittany, far from the world, these two women suddenly meet, for a very short time anything becomes possible for them, even to love one another.
A female cinematographer, Claire Mathon, photographed the film (her work on the program Atlantisque, too), who, through intimate proximity, sensitively and sensitively but not nicely reveals the cautious burst of relationship. Haenel provides a particularly penetrating cast as the hard-to-recognize title character, and even if we can't call it a novelty, her beauty and sensitivity are among the strongest parts of this year's competition program.
Terrence Malick, a circular, large-scale but chewy film, first appeared in the competition program for Heavenly Days for exactly forty years and is honored as a god in Cannes. He hasn't really served it with some of his recent films (they weren't shown here), but after the Tree of Life 2011, he has just returned, and Hidden Life has been his best work ever since. For the most part, we are in an Austrian village in the late '30s, where a Franz anti-Hitler farmer (August Diehl) refuses to join the army or co-operate with power in any way, even when his family is facing increasing problems cause, and it becomes probable that his one-man rebellion will end in tragedy.
There are quite a few novels and films about a moral man who stands up to his moral principles, confronted with the power of a certain failure, and Malick, who deals with the incident, does no more than walk through the predictable stations of this journey in his distinctive style. But this style is still captivating: the beautiful scenery, the rocking, the camera movement fluttering in and out of the figures, the distorting optics that make it all a bit dreamlike, and the strange camera angles, tree of life for a strong, meditative effect. But I didn't really understand why it was important to tell this story again.
I'm a big fan of the documentary drama of the Belgian Dardenne brothers, and I'm not alone in this: Le jeune Ahmed (Young Ahmed) is in the competition for the eighth time and has twice won the Golden Palm. Unfortunately, their new movie is not one of their best works at all, if I had to describe it in a word, I'd say it crashed. I really appreciate the short films, but this time they could have made it longer, at the end of the less than an hour and a half, I didn't want to believe it was so much that their tossed-up theme was suddenly hacked.
The film introduces the radicalization of a Belgian teenager named Ahmed (Idir Ben Addi), but treats this terribly complex problem with an almost offensive superficiality, going bump in the story. It is even believable that a charismatic imam can quickly steer an influential child towards radical views, especially those who have seen an example of radical Islam in his environment, but then the events are so accelerated and so many changes take place in Ahmed so short over time, which is not really realistic anymore. Although the scenes are as lifelike in themselves as the director's earlier films, while perfectly natural for the actors, it would have taken more time and depth to depict the protagonist's psychological processes, as it is like an educational film about the dangers of radicalization. The Dardenne's got their camera close to their subject again, but this time I don't think they really saw her.
In my first report, I wrote about competition films about heroes suppressed and despaired by our socio-economic system. This is clearly the defining theme of this year's competition program: South Korea's Bong Joon-ho Parasite (officially titled "Parasites, Home Shown in Autumn") deals with this, not just oppressive realism, but black comedy. He confronts a bashful family trying to make a living from pizza box folding with an architectural masterpiece of an upper middle-class family who interact with each other as a poor boy's boyfriend to a rich family's teenage girl.
I do not want to shoot the increasingly wild turns of the plot, however, as in the director's Snowpiercer, the oppressed are rebelling in their own way - the story of the two families is obviously a symbol of tension between the social classes, infinitely witty. We get morbid jokes, a little burlesque humor, and some surprising twists, and the two-and-a-half-hour movie never gets bored.
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