“If you come to Cannes, you’re ready for anything,” the French festival and theater veteran Olivier Assayas said on Tuesday all left at the press conference of his competition entry “Personal Shopper”. The had been booed loudly on the eve of some frustrated press colleagues. After the climax, the applause and the general jubilation over “Toni Erdmann”, this Cannes-born has therefore also reached its temporary low point.
Where boos from the audience far mean yes, that a film has failed, Assayas, 61, who has competed here in Cannes already with different projects, most recently with the excellent political miniseries “Carlos” (2010) and the gentle woman drama “the Clouds of Sils Maria” (2015), had to once already for his Porn Thriller “Demonlover” can call a cinema extremists. For some, that’s an insult, for others a compliment. When in doubt, Assayas among the latter. His films, he said now, but anyway developed a life of its own, after he had given birth to it.Whether “Personal Shopper” in this sense is a wayward brat or an unrecognized genius, it will be argued here probably until the award ceremony on Sunday. For the second time after their great performance in “Sils Maria” the US actress Kristen Stewart is seen in a Assayas film, but this time not as youthful mirror image of Juliette Binoche, but as the sole protagonist in a film with few and rather insignificant secondary characters , A task that copes with the 26-year-old former “Twilight” star with flying colors: Stewart plays a suggestive nature awkward and graceful, nervous and determined that you do not can see enough of her
Whether the stranger on iPhone is actually a man or Maureen’s deceased twin brother Lewis, that leaves Assayas initially open. Lewis is the second person in whose shadow Maureen arises because the brother with whom she shared a heart disease, there was a pact that whoever dies first ever gives the other a sign from the beyond.
It Had Assayas leave it, there might have been no boos, but horror and Genrefan, he also happens to be, he finally makes a real ghost Maureen Go: an animated phenomenon which in itself dark walls manifests, a couple of times around shrill hisses and the young desperate woman in the end still fully sick with ectoplasm. Lewis was not. But who then?
At the end of the film that does not oscillates between charmless Haunted-House-horror, Schickeria satire and psychological thriller, Maureen looks even float around glasses and hear thunderous knocking. The fit again very well with the headache that has now developed in co-dependency with Kristen Stewart as a spectator. Pretty behämmert.
Festival de Cannes
“Julieta”
With traumatized women, we went on Tuesday straight on. Spain directorial Primadonna Pedro Almodóvar adapted for his new film “Julieta” three short stories of Canadian writer Alice Munro and wanted to make his first English-language production thereof. Really made sense but everything until he said in a recent interview when he yet again settled the action in Spain and instead an adaptation rather turned a kind of homage.
As with Assayas is also the subject “Julieta “to the question of who we are even if we have lost a loved one. Almodóvar’s title character, played in their previous version of Emma Suárez, her life seems actually to have under control. But then she meets a former girlfriend of their missing daughter Antia. One believed overcome depressive obsession inflamed again; Julieta raises all future plans to the winds, to search for the daughter.
In achronologischer narrative of the film reveals now gradually, what has happened in the past. It all starts with a night, very hitchcock esque train in which the young trainee has two fateful encounters: An old man sits down next to her in the compartment and will clumsy contact, whereupon Julieta takes refuge in the dining car to the more attractive there far to meet Xoan (Daniel Grao). While the two of them in the sleeping car drive each other while witness Antia, the old man jumps out of the train and kills himself.
A dark shadow therefore overlies the relationship of later discharges in a picturesque seaside town in a storm and a very tragic turn. No wonder that both mother and daughter alienate it, but it takes a lot of beautiful pictures and a lot of Almodóvar typical gaudy colors and Outfit Orgiastik, great clothes and clever draped artworks to tide over the repeated intermittent drama. “Julieta” is a beautifully photographed, competent set in scene melodrama whose plot revelations, however, come too late to tie lasting or surprise.
Festival de Cannes
“Aquarius”
The third traumatized the day was then Sonia Braga, a kind of Brazilian Iris Berben, as brave breast cancer survivors and seventies pop nostalgic and in Kleber Mendonça Filho “Aquarius” . “Dona Clara,” as it is called by her family and her pal, the local beach lifeguards, lives since the death of her beloved husband isolated in an old apartment complex on the beach of Recife.
The other owners and tenants of the house have long undressed, bought out by an unscrupulous contractor who wants to rebuild on the lucrative spot. Only Clara, aged in beauty and pride will not vanish. Unfortunately, there is also Mrs. Braga something too beautiful and too proud to give their tragic grim figure the necessary depth and despair, as they could have abgucken something at her about the same Chilean colleague Paulina Garcia that a similar role two years ago played in the acclaimed Berlinale competition film “Gloria”.All the more callow metaphors, the director Filho, a former journalist who is usually praised precisely for its understated subtlety in “Aquarius” illustrates: A house full of items, including an impressive record collection, as a backdrop for a woman who can not be from the past? Termites as a symbol of the voracious capitalism and the gnawing of certainties Modern?
No, he prefers Puking ectoplasm! Then it really was not prepared.
Culture on Twitter
Never miss a cultural article more! You can Twitter the resort:
No comments:
Post a Comment