Sunday, May 15, 2016

Cannes Day 5: in competition, three film ideas –

Attendance at a festival brings to the sequences, a “montage” de facto between works otherwise nothing would close. This has, among others, the virtue not to put the films in competition, unpleasant idea and no interest if we do not do jury duty, but to compare movie ideas likely to live in an event such as Cannes. Thus, exemplarily, three titles presented in competition this weekend.

Miss , the Korean director Park Chan-wook adds a new chapter to a work that no one can challenge the consistency.

Most of the author cinema Oldboy is indeed based on the same recipe, which combines violence, eroticism, fantasy, game narrative and imagery cartoon . The excessive and assigning them go together like again with this story of manipulation and betrayal set during the occupation of Korea by Japan.

An author, so what?

Between a rich bibliophile sadist, a Korean swindler, a young Japanese aristocrat and a servant and Korean thief, plays a part in which the strings are tensioned several times, to better enjoy the different configurations of domination and seduction .

with achievement furbishing arms erotic glossy magazines, we say the choices Park offers variations of his own on the figures imposed by different genres, or paraphrase it, if not . endless parody

“Author” in the sense that we very easily mark its special leg, the director testifies to the extreme of the legitimacy of what was once named the authors of the policy is that it is not enough to have a distinctive style, which can claim the title of author to make a movie worthy of interest.

since also brilliant and flashy it is, this assemblage of torture scenes, landscapes gracefully compounds or erotic sequences between two young women more than charming, all this is nonetheless perfectly vain.

Very well received by festival-goers, the third feature German director Maren Ade, Toni Erdmann, reports a different approach. It tells the story of Ines, young executive woman part work in a financial consulting firm in Bucharest, where she was joined by her father, actor whose screw comica will highlight sadness and emptiness of life of zealous servants of big business.

contagion sitcoms

While the film works on a series of gags highlighting the ridiculous and infamies that would define the business world, with contrasting irruptions increasingly wacky old disguised father, half King Kong mid-Frankenstein.

some of these gags are very funny, some of these fun or unique situations. It remains that one is here in front of a succession of scenes on-written, filmed needy way, each character from state what he has to say on camera.

Nothing that guess or imagine: everything is in the light, in a locked arrangement. In short, it is not cinema, it is on television. Except this “sitcomisation” movies, old phenomenon, but only worsen without hardly arouse misgivings, here is particularly insistent.

in the previous two poles, here, fortunately, the fourth feature by UK director Andrea Arnold. As scruffy as the other two are lined, clean them and set as clockwork, American Honey cookie immediately and without return in a flow of energy.


stuck at a very young girl named Star who boarded a bus plying deep America, the film protagonists a group of a dozen young misfits who go from town to town trying to sell magazine subscriptions.

Dating, rivalries, loves, affairs, various crises punctuate this very physical odyssey filmed camera in hand, often as close to the skin, faces and gestures.

Here there is no cunning intrigue, seductive imagery or accrued jokes. This is a movie that believes in human, movements in the scenery in the lights and sounds, rhythms and expectations, voices, songs, words, signs.

many adventures punctuate this always unpredictable road movie, many turnovers mark the trajectory Star (unknown Sasha Lane, a revelation), the seductive and dangerous Jake (Shia Labeouf in what could well be his best role) , the boss of the band and others.

unpredictable, never assigned to an archetype, or locked in a shot, the protagonists worn by a kind of tone without purpose of frantic spending and for that same moving, make up an unstable picture but very strong young men left behind behalf of the company, image without complacency, but misery.

film-fire where desires and anxieties are thrown brewed penalties film -potlatch: we can find American Honey a thousand faults. Each and all of them together are an infinitely more alive than cinema embodied the other two films, with all their qualities, competence and efficiency.


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