Ugly failures and huge successes in Cannes

Ugly failures and huge successes in Cannes

There is no Cannes without a scandalous failure: this year in 2013, Adèle lives 1-2. Abdellatif Kechiche, a Tunisian-born French director with a Golden Palm, became the most hated creator of the festival.

Let's just say that it was basically an absurd idea to have a sequel to Mektoub My Love: Canto Uno, released in Venice in 2017 and later dropped in cinemas, which became Mektoub, My Love: Intermezzo, presented on Thursday night. At the end of the press show, reporters applauded after the end of the headline, and about half of the guests, including Ophelie Bau, who had left Cannes for the night, did not appear at the press conference.

After that, everyone must think that something horrible is happening on the screen, but that's not the case. In fact, it is not the case that the Canto Uno, unseen by anyone, would not make Intermezzo understandable, although it is indeed an interesting idea to make a continuation under such conditions, it is merely that what we have seen is boring and uninteresting. We see girls and boys talking on the beach for half an hour, then dancing to an electronic music club for the next three hours.

Of course, the movie can be watched, as we see the young girls in the premiere, but there is one thing that is really missing: the artistic quality. Kechiche treats her characters as if she were not a director but a butcher, and this kind of exploitation of the female body does not justify the existence of a "I came here" narrative narcissistic work. And Ophelie Bau, according to information in the French press, was probably offended by a ten-minute pornographic scene in a restroom where Kechiche used a body double and the actress only faced the premiere of what a gross and self-directed movie.

The director is uncomfortable with the Cannes scandal, as several women have accused her of violence in her private life and have only apologized so far that her new movie may have gone too long.

However, Cannes remained the film's celebrity: Friday's hero was Sylvester Stallone, who attended the premiere of the Rambo - First Blood Renewal and held a "side-by-side" masterclass - the latter of which was almost hysterical and battleground than Quentin Tarantino. "Sly" was in amazing shape, telling me that Rocky seemed tragic on paper and was keen on a kangaroo instead. He sees success in the days when political films dominated the market, such as the Taxi Driver or the President's people, and Rocky was an optimistic work against them.

"Rocky is a symbol of getting to the top, that's the power of the cinema," he underlined. This character also saved Stallone's career: when he was in the ups and downs, he shot Rocky Balboa for his own money, which became a huge critical success. As he put it, the failures made him smart. What's particularly interesting about Rocky is that he doesn't return to the sequel after the two Creed movies, but plans to do another Rocky comeback. Regarding his other famous character, Rambo, he emphasized that he only realized the character's political content late and was particularly upset when Ronald Reagan said: Rambo is a Republican.

As for acting, he noted that he does not believe in what the renowned teachers say, meaning that all roles can be played. "Dustin Hoffman was not a Rambo, nor would I have been credited with My Cute," he underlined. One of the most touching moments was when Sly and the four hundred people present were touched: Jean-Paul sent a dedicated photo to Belmondo Rocky as a gift to the star.

Instead of tension, children were allowed to live in the Müpa dressing gown. It turned out that in the temple of art you can not only watch and listen, but also play and create.

Being a venue for classical music, jazz and light music concerts, dance theaters, opera performances and literary evenings since 2005, the Müpa has been a novelty. However, sometimes becoming a playground for children is perhaps less well known. In addition to suit-and-tie parties, the even-run institution offers a full-day program for kids. We spent a Sunday at the Müpa with four children, between five and thirteen. Szonja Boda, Hunor Hargitai, Anna Orosz and Szonja Szalmás handcrafted, played virtual instrument recognition games, visited a building, saw a video studio, tuned in, and finally got to know the artists' everyday life and then their production.

In the hallway, handmade board games and craftsmen await energetic children at ten in the morning, who, without their parents or sometimes with their help, can sit down to the 'don't worry about getting paint' tables. In the morning and afternoon New Circus performances, everyone can make their own mini circus tent with trapezoidal, hoop artistic and clown figures. The little ones cut more, the big ones cut, glue, glitter, color, paint with less help. Sometimes their imagination is limited by material or time.

Headphones, most like diving goggles in front of the eye, and head-start virtual play. But this is a Minecraft remodel! Hunor Hargitai is pleased to have toured the virtual concert hall. The music education tool is Müpa's own development, and the game recognizes musical instruments. The successive levels of a complex program that develops musical memory and lasts for about ten minutes, with the guidance of Peti, have to be completed in a growing number of instruments in less time. There are no losers, the point is experience. The Népszava Quartet is pleased to note that at least four of the six instruments have been recognized, and that Peti herself has made Peti herself immobile. On their next outing, they can walk around the building, peeking into corners that they never get to as spectators. And we adults can acknowledge that the virtual world is not necessarily bad.

Who loves superheroes? - inquires about the interactive production of the company for children by Bence Vági, head of the Recirquel New Circus Society. Many hands swing high, and in the first half of the performance, 10 young artists sitting on stage tell the secrets of superhero. It turns out that secrets aren't secrets, aerial gymnastics can be accomplished, "only" talent, dedication, work, practice and perseverance are required. Someone who has become a gymnast, who has become a dancer, some who are on a Chinese pole, some who are on a rubber table, and someone who gives a taste of the seemingly impossible arts. They do not work on a hobby level for their hobbies, including an artist who works in economics at Recirquel. The second part is a selection of already dressed artists from various performances by the company. The five-year-old Anna looks at the paper circus tent in the morning and sees the ring of paper hanging from the paper dome when asked. Two of the occasional editorial kids group flirt with artistry, and a performance called A Day in the Aerial - New to the Circus will hardly dissuade them. They only regret not being rushed to try the instruments on stage, being tempted by a trampoline, hanging out on a trapeze, and dancing rope. After the performance, however, children can feel the need to move by sliding under the railing next to the stairs, running down the long corridor or secretly standing on the carpet. Because it is not only worth going to the Müpa for a safety suit. At least as a kid. & Nbsp; & nbsp;

What I like best about it is maybe how beautiful and how modern it is. The first time I was there I thought it was a dream, but no, it is a reality and it always comes to my mind. I have only been inside a few times in my life, but once when I was performing with the Hungarian Radio Children's Choir and José Cura I sang. On the weekend, I was on pre-kids' day and got to the Bartók Béla Hall, where others can only come in during the performance. There's a special walnut chandelier that can be opened and it'll look like a spaceship in Star Wars. There are thousands of organ whistles behind the stage and 1700 seats! From the stage, it was like a giant auditorium of a royal cinema, or like a lofty grandstand. Every time I could admire this beautiful building. It is most strange when I see it from the outside in the dark because the whole building is decorated with colored lights like a Christmas tree. & Nbsp;

We could try VR on the weekend. The best thing about VR is that you lock yourself out of the outside world and end up in a shell, completely different. The point of the game we played was to get to know the look and sound of the instruments. All you have to do is put on your glasses and listen to the sounds, and then use your head to steer the character where you want to go. It's like playing in Minecraft, and when you hear a sound, you can choose the instrument for it. Once, when I went over an instrument, I thought I had really hit my head. :) Anyone can try this game on the second floor of the Müpa on Sundays. & Nbsp;

I painted my circus experiences with oil paste. You could paint it and make it a cardboard circus, we could make things that had moving parts, and there were lots of board games to play with. & Nbsp; Harghita Hunor

International Children's Day was first held in Turkey in 1920. In 1954, the UN General Assembly recommended that Universal Children's Day be held in all countries. The purpose of the celebration is to commemorate the brotherhood and understanding of the world's children and the struggle for their well-being. Most venues take place on June 1st. It has been celebrated in Hungary since 1931 and has been held since the last Sunday in May 1950.

Gyimes Csángó bitters and dance house music can be heard on the first record of Levente Vaszi and his student Anita Vrencsán, who is known from the Peacock television folk music quiz, and is today live at the Budapest Folk Fest.

Levente Vaszi is a Hungarian-geography teacher at Kostelek in Gyimes, who considers his profession to be the preservation of the centuries-old Csángó tradition of Gyimes through the Hungarian language, folk music and folk dance. Kostelek is a village in one of the most secluded corners of the Carpathian Basin, surrounded by beautiful pine forests, but everyday is not so idyllic. In the difficult living conditions it is a problem that there are few young and officially only Romanian schools in the village because "after the change of regime there was no one to claim the Hungarian school, nobody dealt with it" - Levente Vaszi lists the problems. Yet he is optimistic about his own tradition-preserving work: "you just have to love and do it, keep cultivating it."

Levente Vaszi became known in the motherland as the singer of the Peacock Folk Music Quiz 2014. As a result, he was called to many performances and now, with the help of a tender opportunity, Fonó undertook the release of his first album. Not surprisingly, the "celebrity world" is unfamiliar with Levente Vaszi, but he feels he has been able to handle the popularity of television in public. "A little attention was paid to our area as well, people could look into our lives," he says. Because she was recently married and had a baby, she is less likely to travel to Hungary today. "I have a job, a vocation in my hometown," he admits. One year later, in 2015, his student Anita Vrencsán qualified for the Peacock Final, and was named by Márta Sebestyén as "Kostelek's little lark". Anita and members of the Crushing Band on the album are no longer studying in Kostelek but in Miercurea Ciuc; their third singer, Erika Tímár is still at home.

The new album, subtitled Gyimes Valley folk music about Kostelek, was like going to a ball, the Levente's birthplace. The vocal repertoire predominates, with strings playing an accompanying role. Most of the songs are dance house music, complemented by the bitterness of the region. Some of the tunes are specifically related to Kostelek's traditions, but they also considered it important to show the folklore treasures of the surrounding settlements (also well known).

Thousands of Csángós live in the valley of the Tatras, in scattered mountain settlements. Due to their seclusion, the Szekler folk music and folk dance culture, sometimes colored by Moldavian or Romanian influences, was preserved in a very ancient style. The regular collection work was started by Oszkár Dincsér, a member of the Museum of Ethnography in 1943. This made up a particularly rich collection of repertoires relative to the population. & Nbsp;

Events in Cannes