As said director Olivier Assayas still at the beginning of this second festival week, which contained so many big names, but as few surprises? “In Cannes you have to be prepared for anything.”
This banal sounding sentence proved the end again as wise and true. As program director Thierry Fremaux would realize a few tricks in the pocket of his tuxedos retained surprised and shone the competition on Friday and Saturday once again as one would expect from a better Cannes-years.It seemed Asghar Farhadi “Forushande” ( “The Salesman”) on paper at first like a rather hard-working construct.
The Behelfsrahmen for the real action is the production of Arthur Miller’s classic “death of a Salesman” by an amateur ensemble on a small stage in Tehran. Uff, theater allegories in cinema that rarely goes well and threatened often to be too didactic.
Farhadi, however, at the 2011 Berlinale for “Nader and Simin” Award, celebrated in 2013 in Cannes for “The Past”, shows up with his new film not only again as masterful juggler, who knows how his so clever and gripping to arrange artistically entangled action and levels of meaning that each of its concise upper fourth relationship dramas could be a middle eastern Hitchcock thriller.
The teacher and amateur mime Emad (Shahab Hosseini from “The Past”) plays Willy Loman, his wife Rana (Taraneh Alidosti) is cast as Linda Loman. But the real drama unfolds after Farhadi has opened his film with a veritable shock: The apartment house where the two live threatens zusammenzukrachen, her older fellow actor Babak lets transitional in a recently vacated apartment in a house that he managed move. What he Emad and Rana but not told: The previous tenant, an apparently single mother, used a somewhat erratic lifestyle and often received alternating male acquaintances.
Half the apartment is still full of her belongings and furniture, a nuisance for Rana, while liberal and cosmopolitan are, but their middle-class intellectual conceit can not hide. One evening she goes under the shower, but opens before the front door, because they thought it was Emad, who had rung below the ground floor. A stranger they coat in the bathroom, she finds Emad traumatized, with laceration and concussion, the hospital again.
As well as the obvious prostitution of Vormieterin remains merely implicit that Rana not only depressed, but was also raped.
In a country where Willy Loman mistress Miss Francis Iranian in must occur stage version of their legendary nude scene in chastise long coat, which is a violation of honor, which is inexpressible. therefore police come not suitable: Emad discovered money, a cell phone and car keys, which has left behind in the apartment of fugitive attacker – and makes himself because atone Ranas shame.
The viewer learns this Emad know as fine guy, a caring husband who sensitively enters first on Ranas emotional shock. When they him but permanently escapes and no longer works in everyday life, ultimately, on stage loses his poise, Farhadi defoliated gradually the darker side of its main character. From the soft educators, to his students treat her like a buddy who is an angry, imperious avenger who to – brutally imprisons perpetrators when he sought him out and humiliates – surprisingly pitiful.
Farid Sajjadihosseini has a brilliant appearance as evildoers who becomes a victim in this tension-filled final act. As Emad he is a prisoner of an embossed by male dogmas and moral precepts society, burn in lower instincts and violence always available under a thin layer of civilization. Only at the very end are the references to the “death of a Salesman”, blame, shame, the failure on the upright, noble character Ideal openly – and at the beginning as questionable acting theater Brace receives its meaning.
“Forushande” may not possess the socially critical depth of “Nader and Simin” and the emotional impact of “The Past”, but the precision, empathy for his grandiose played characters is still masterfully. That makes Farhadi’s film late in the festival one of the few truly deserved contender for the Palme d’Or, which will be awarded on Sunday. applies to favorites until further Maren Ade unanimously acclaimed father-daughter grotesque “Toni Erdmann”.
Meanwhile, outstanding lead actress Sandra Hüller was already sufficiently strong competition for the Palme actresses, including Kristen Stewart, Marion Cotillard, Sonia Braga and Adele Haenel; Saturday Huppert joined by Isabelle also the first lady of European arthouse cinemas now.
Huppert plays the lead role in Paul Verhoeven’s competition-closing film “Elle”, which provided on Saturday morning in the press screening repeatedly for incredulous, shocked laughter and boisterous applause.
Festival de Cannes
Scene from “Elle”
A nice victory for the Dutch cinema veteran Verhoeven ( “Total Recall,” “Starship Troopers”), of his last major appearance in Cannes had 1992 “Basic Instinct”, the ice pick-shocker with Sharon Stone.
“Elle”, his first French-language film, is a thriller about sex, sadism and perversion, but he has a Femme Fatale, which has much more to offer to screwed-up and corruption yet.
the Huppert become in March 66 years old are here naturally and credibly the fleet Forty year old Michèle, who runs a video game company with a friend. In the most successful Game shapeless orc monster raping innocent schoolgirl avatars with Tenktakel-phalluses, it’s just what wants the clientele. However,
At the beginning of the film, the spectator will witness their own rape: A masked stranger enters her chic Paris suburb of property, wrings petite woman to the ground, beating them and defiles it, until they bleed. ” / p>
also Michèle sees no reason to report the incident to the police, anyway it remains strangely unmoved by the shocking experience. Your ex-husband and friends she tells them casually in common restaurant dinner.
It was only gradually becomes clear that Michèle was already traumatized as a child: 30 years ago, her father ran amok and killed with a knife and hoe the inhabitants of an entire stretch of road. From the media stylized as Monster, he sits for life in prison. Michèle itself, then ten years old, also gained dubious fame: A press photo of yore shows the half-naked girls blankly beside the stake to her psychopathic father had built in the garden with her belongings.
The clearer the Verstörungen in Michèle be Psyche, the less clear is whether the rape from the beginning was really the violent crime, which it seems to be. The writer of this absurd abysmal thriller based on the lustful bourgeois society dissecting novel “Oh …” the French literary rebel Philippe Djian.
Cannes-regular Huppert, who has already won twice for Best Actress (et al 2001 “The Piano Teacher”), once again manages to create from this template a unique knotted female figure.
Your Michèle served bedfellows from as cold as they demolished the front spoiler on the car of their Exmanns – and then pauses briefly and mokant “Ooooh” says. As head it is a dreaded bitch, its least well beaten by life mother (Judith Magre) they do not begrudge the young lover.sarcasm, smugness and contempt mingle in Huppert’s facial expressions to a fascinating mask of emotional glaciation, but behind any time can break out a shy, vulnerable smile and an unfulfilled longing for feeling – no matter what. Thus it remains so unpredictable and startling as this eerily entertaining Verhoeven comeback.
A stunning and facilitative statements for a rather sluggish Cannes-born.
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