The Cannes Film Festival opens between mysteries and crimes with Jim Jarmusch
Mysteries and crimes in Cannes, with a polemic tail on Alain Delon, not worthy according to the feminists to receive the honorary La Palma for his alleged sexism. The thin red line that unites many works among the 21 in the competition seems like a film borrowed from Woody Allen, a regular at the Croisette but not this year. Beginning on Tuesday, The Dead Don't Die, the dead don't die of Jim Jarmusch, where the hungry dead come out of the graves, and certainly not to play cards with the inhabitants of Centerville, a peaceful Ohio town. Choral Supercast, the usual Jarmusch tour company: Tom Waits, Bill Murray, Iggy Pop, Adam Drive, Tilda Swinton who survived with Solo in Lovers had already "danced" in a set the same blood red tango. Taking the title of the film literally, the director's zombie actors with a rebellious taste and tuft don't open their mouths until Wednesday.
Mysteries and obsessions appear in the perhaps most awaited film, entered last in the starting grid: Once Upon A Time ... In Hollywood by Quentin Tarantino (the title is a tribute to Sergio Leone). Back in Cannes 10 years after Glorious Bastards and 25 years from the Golden Palm taken for Pulp Fiction What initially seemed the heart of the film, namely the massacre of Sharon Tate and his four friends at Bel Air in California, year 1969, accomplished by the symbol of absolute evil, Charles Manson and his cult's followers, is only one of the wires. The demon made man between reality and fiction is intertwined (in the most typical Tarantine style) with the exploits of Brad Pitt, who in the Hollywood undergrowth makes the stunt and stuntman, and those of his friend Leonardo DiCaprio, actor of western movies on TV that wants to break into the cinema mecca. Tarantino imagines the character of DiCaprio next door to Sharon Tate. At the time she was a Hollywood promise, they called her "the diva of tomorrow" and she is played by a very fresh diva of today, the beautiful Margot Robbie, who touched the Oscar with Tonya.
In Dolor Y Gloria Pedro Almodóvar throws himself into the secrets of his life: in his most autobiographical film, he tells of a director a crisis, with an Antonio Banderas (even Pedro's clothes and shoes) depressed, until the rebirth. But the Palma of the cesspool of mysteries goes to Marco Bellocchio, Italian competing with Il Traditore, on the first great penitent of the mafia, Tommaso Buscetta, with the great Pierfrancesco Favino who confesses to the judge Falcone the secrets of the Pyramid of Cosa Nostra: here is ex arrested boss (in Rio de Janeiro, where he was called Roberto Felici), beaten up, extradited. And then the reconstruction of the maxi-trial in Palermo in 1984, which decreed 366 arrests (and 19 life sentences for Totò Riina).
There are the mysteries of the soul told by Xavier Dolan, who is just 30 years old and every time he goes to Cannes something wins: Matthias & amp; Maxime is a love story of two boys during a reunion with old friends. The French Arnaud Desplechin, for the seventh time in Cannes and still hunting for a Palma, in Oh Mercy takes us to his hometown, Roubaix, where the local police chief faces the murder of an elderly woman. "Everything turns out to be profoundly human - said the director, considered the heir of the Nouvelle Vague -, suffering as crime, but at the center there is the question of inhumanity". And here we enter the territories of the two times Golden Palm Ken Loach and the Dardenne brothers: the first with Sorry We Missed You tells the story of an English family struggling with debts after the 2008 economic crash; the Belgian brothers in Le Jeune Ahmed investigate a teenager who plans to kill his teacher after adhering to the Koran in his most extreme interpretation. Therefore, on the one hand the mysteries of the opulent West that does not know how to give happiness, on the other the mystery of faith, not as the parish priest says on Sunday, but the most radical one. The last mystery is the largest, Diego Maradona, in the eponymous film by Asif Kapadia, about his years in Naples. A football genius who did not dribble the dangers, knowing miseries and nobility: after all he played many roles and always played himself.
As for Delon, "no one is perfect," says Festival delegate Thierry Frémaux. The icon of French cinema has never hidden its right-handed sympathies, which here are a sort of crime, and then every now and then it would have raised its hands on women. He says he loves them and owes everything to them. Freméaux adds: "He belongs to another generation and must be contextualized. The Le Pen Front represents only 20% of the French. Here we reward the artist who enchanted Visconti and made us dream in the cinema. Alain Delon is not perfect. Neither am I