Cannes: Woody Allen disappointed Alain Guiraudie excited – SPIEGEL ONLINE

When working wegnicken times briefly, for film critics and film critics have of course fully understand. When the lights are out, the seats soft and the air consumed, taking the fight to the sleep out of hand quickly. Similarly, it must Woody Allen in his latest movie “Café Society” have been issued, with the festival opened on Wednesday evening. During his cinematographer Vittorio Storaro ( “Apocalypse Now”) was busy actress Kristen Stewart illuminate so that her face shines in the glow of “magic hour”, Allen must have fallen asleep several times and did not notice how his actors ever without him have begun to turn. When no one would have had an eye on how different actors invest their roles, and how little they relate to each other in their playing, falls “Café Society” during his 96 minutes further and further apart.

Kristen Stewart for “Adventureland” and “American Ultra” to see again on the side of Jesse Eisenberg does, as expected fun. The two share a nervous intelligence that makes them ideal for Woody Allen films. But in Los Angeles the thirties they seem out of place. Bobby (Eisenberg) has recently moved from New York to the West Coast, now he asks his uncle Phil (Steve Carell), who is an influential Hollywood agent to a temporary job. The (Stewart) kicks him once his secretary Vonnie from, so she shows him the city, including the glamorous villas of Stars. Bobby is immediately impressed by Vonnie, but she has a secret affair – with his uncle Phil

Bald found Vonnie in a love dilemma, which dissolves as one must expect from Woody Allen:. When a woman between may decide a same age and a significantly older man, she chooses the much older. That the 26-year-old Stewart frequently carries in its role as a playmate of the 53-year-old Carell babydoll dresses and bow in her hair, even more strongly doubt one of the pair. Fittingly, has Allens own son Ronan Farrow just been written in the service industry, “Hollywood Reporter” a longer piece about how the media have dealt with the abuse allegations against Allen, 2014. In his opinion, they have the allegations his sister Dylan, Allen accused sexual assault in her early youth, not taken seriously enough

has Whatever happened back then -. The thematic echo toward Allens movies to this offer again and again, is frightening. The marbled applause, the film received at the opening had so probably nothing to do. The was rather due to the fact that Allen’s Portrait of Old Hollywood and its superficiality is failed even little rich. Since the Berlinale has the showbiz farce “Hail, Cesar!” significantly better stood by the Coen brothers this year. Ultimately, both the festival organizers of Cannes should be thinking about whether you really can still open with a film of Allen the festival.

 
 
 

Festival de Cannes

“Money Monster”

“Money Monster “ (also out of competition) Jodie Foster would have been ready a worthier candidate in any case, which would have brought at least as many a-lister on the red carpet as Allen. George Clooney plays the host of a TV Exchanges show that is held hostage on camera by a short-term workers. The young Kyle (Jack O’Donnell, “Unbroken”) has lost by an erroneous Anlagetip his life savings, now he wants an explanation from those responsible – and gives his demand forcefully by a bomb vest, which he umhängt Clooney Lee Gates. Julia Roberts is the director of the TV show, which now has to control the transmission of the live broadcast world hostage crisis.

As alter ego of Foster, who presents her fourth feature film with “Money Monster”, Roberts is good but only conditioned: Because while Roberts as breathless as the global television audience followed the kidnapping, white Foster exactly which turns to take the story. Where the thematically similar Oscar winner “The Big Short” sat on making the financial crisis understood in all its complexity, however, Foster relies on psychological finesse. Who and who’s hero villain, can not say so easily. The stock market guru, on whose advice you better should not rely, is not as cynical as feared. And the hostage taker has a wife and child at home, for which he now can no longer care. Could it be that they have a common concern – namely to uncover the fraud, which is behind the faulty Anlagetip?

In many moments has “Money Monster” more of a political thriller because of a serious confrontation with the financial sector, finally, the film revolves mainly around an isolated conspiracy. At the same time, the screenwriters Jamie Linden, Jim Kouf and Alan DiFiore focus on personalization, to make the fabric more dramatic. Again, they look compared to “The Big Short” bad, because the did not want to release individuals to approve condemnation, but denounce abstract deregulation of the banking sector. At large findings remains at the end of “Money Monster” because even little. But as a thriller, which is far more unpredictable than many of the now very action-heavy genre, the film reüssiert well.

 
 
 

Festival de Cannes

“Rester vertical”

As with Gustave Courbet’s famous painting “origin of the world” takes the vagina most of the image, while the rest of the woman to whom the sex part belongs, is not visible. Shortly afterwards follow the images that explain Courbet Title: From the vagina a baby is pressed. Also in close-up, shortly before 9 am in Cannes.

Explicit birth rather explicit sex? No, do not worry, in Alain Guiraudie competition film “Rester vertical” both can be had. On paper had the story of the unsuccessful filmmaker Leo, who falls in love with the southern French province in a shepherdess, has a child with her, but eventually dumped by the woman who first sounded chaste.

But even the images of birth make clear that Guiraudie has lost none of its cheeky curiosity and as with his surprise hit of 2013, the gay sex Suspense “Stranger by the Lake” really hinguckt exactly where other Looking supposedly reduce respectfully. This takes place at “Rester vertical” formally not as strict as the “stranger”, who played only on a secluded beach. Instead explored “Rester vertical” Lozère, the least populous area of ​​France, in many, meandering tracking shots. But if one suggests that it will come to an assisted suicide later in the film, in which by means of anal intercourse the crossing to be sweetened to the afterlife, should be clear that there is nothing provincial about this movie.

contrary, the erotic options seem particularly plentiful here. Not only shepherdess Marie (India Hair) invites Leo (Damien Bonnard) quickly into her bed. Her father, in which she come together, Leo makes advances – but only as Marie has long been with the newborn son let him sit. Whatever the resignation of women ensures that the men can finally carry out their various desires alone. This is not always to their advantage, especially Leo soon gets into financial and sexual needs. But for one thing he can, despite the difficulties always guarantee: that it is with his son well. So has “Rester vertical” ultimately an explicit message: Queer and be a good father goes well together

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