Венецианский кинофестиваль 2019

[Walter666]

Роя Андерссона

[Зеленоглазка]

Появились оценки наших критиков у Мартин Иден. Средняя 4.0 пока. На томатах одна свежая рецензия и одна тухлая.

[Walter666]

 

International critics

[ORANGE'71]

"Раскрашенную птицу" сравнивают, помимо прочего, с "Иди и смотри" (с "Сыном Саула" еще). А фильм Климова у Мартель в числе 44 любимых фильмов...

[Зеленоглазка]

Только сейчас внимание обратила - у Мархоула в главных ролях не национальный, а голливудский каст в первых строчках. Хотя в фильме действие происходит в Чехословакии. Сложно сказать, насколько аутентичным фильм получился.

[Walter666]

Там Удо Кир в роли какого-то маньяка, куда ещё аутентичнее?

 

По описаниям адский трэш (я на него только что чуть билет не купил на открытие ПкЧ, но уже передумал).

Чет сомневаюсь, что Мартель такой жирный мизерипорн зайдёт, но что-нибудь помельче вполне дадут.

[Зеленоглазка]

Я не про Кира, а про Кейтеля, Пеппера и Скарсгарда, который хоть и швед, но вызывает стойкие ассоциации с американском кино.

 

Посмотрим, конечно. Может и нормальное будет выглядеть.

[Walter666]

Темы Андерссона тоже не видно.

 

Рецы:

 

IndieWire A-

There are scenes of absurdity, and scenes of loss. There are scenes of pain, and — in a far more pronounced way than in any of Andersson’s previous films — scenes of joy. One segment features a major historical figure on the brink of his most famous defeat (an idea carried over from 2014’s “A Pigeon Sat on a Branch Reflecting on Existence”), while another finds a generic, nameless couple just looking at the clouds. “It’s September already,” she says. On a long enough timeline, these various episodes will all be flattened out into the same miniscule size. And yet, even in the moment, Andersson has already rendered them with almost equal importance.

No matter, this is a movie that’s more than the sum of its parts. The scenes here rely on each other in a way that even the interconnected skits in Andersson’s other work never have. The immediacy of each new moment reinforces the pointlessness of the one that came before it. Sometimes, as in the skit where a man about to cook a nice meal for his wife becomes consumed with bitterness over an old classmate, both parts of that negation are squeezed into a single shot.

There’s something beautiful about that. And something bleak. But it’s the beauty that gives the bleakness its shape, and the bleakness that gives the beauty it’s splendor. The relationship between the two can be hard to appreciate when you’re too close to it, and the difference between the two can be impossible to distinguish when you’re too far away. “About Endlessness” is a lens that clarifies the amorphous period in between, when the full scope of existence is somehow beautiful and terrible all at once.

 

Variety

Short, bittersweet and exquisitely imagined, Roy Andersson's latest compilation of mordant existential sketches finds him on familiar turf, and that's fine.

Andersson can be idly classified as a Nordic miserablist, though to do so is to overlook a lot of his mirthful poetry — and sure enough, even after its lilting intro, the film finds pockets of joy and intimacy amid more conflicted musings. One of the least mannered interludes here sees a group of teenage girls spontaneously start dancing together at an otherwise sleepy roadside cafe; later, a father stoops in pouring rain to tie his young daughter’s shoelaces as they amble together to a birthday party. Not all real life appears unreal in “About Endlessness,” even as Andersson stages it with the beautiful, studio-bound artifice that is his signature. As in his last film, the hyper-composed digital aesthetic of d.p. Gergely Palos and the achingly perfectionist production design — so much of the film seems to take place in the soberest dollhouse you ever saw — are invaluable allies to his mission: to ornately reconstruct the everyday, and to send us back into the world a little wiser to its strangeness.

 

The Guardian 4/5

About Endlessness contains moments of devilish wit, but at heart it is a sad, sweet picture, threaded with themes of estrangement and separation. Andersson isn’t exactly asking us to laugh at or pity these people. Instead, we’re being encouraged to wonder at their predicament – and perhaps relate it to our own.

 

Little White Lies

Aside from the fact that this is Andersson's most nakedly moving film to date, there's still much fun to be had from guessing how he's physically able to create these magical moments.

[Walter666]

[MaximumCoool]

А когда и во сколько будут выдавать награды?

[Walter666]

Babyteeth

 

IndieWire B+

Rooted to the bloody tissue of real life and enameled with traces of early Jane Campion, “Babyteeth” is the kind of soft-hearted tearjerker that does everything in its power to rescue beauty from pain; the kind that feels like it would lose its balance and tip right off the screen if it stopped being able to walk the line between the two. And yet, despite a handful of shaky moments and a story that sounds like a supercut of all the worst tropes in contemporary independent cinema, Shannon Murphy’s primal and surefooted debut never falls into either mawkishness or sadism. It keeps you on your toes from the moment it starts, brings together a winsome but wounded group of people who are all struggling to slay the “tiny gods” in their heads, and then forces them through an ordeal that might just break their hearts. And yours.

 

The distinct rhythm of this honest and moving film allow “Babyteeth” to naturally contract as it pushes towards the ending. It’s something of a tiny miracle that Murphy and Klanejais find a way to tell this story in a way that doesn’t become schematic. Instead, it ebbs and flows according to a simple and consistent logic: Hope forces you out, and despair pushes you in. And only one of those things is worth keeping when someone else doesn’t need it anymore.

 

Variety

The most youthful and surprising entry in this year’s Venice competition, “Babyteeth” arrives fully formed in its bite, with a balance of fluorescent stylistic edge and broad emotional accessibility that should turn the heads of larger arthouse distributors. Murphy and Kalnejais’ collaboration takes a little time to find its tone, beginning as an arch, brittly amusing broken-family comedy that could as easily be titled “Australian Beauty,” before kicking into a richer, less guarded storytelling gear: Any inconsistencies are forgotten by the film’s tear-stained stunner of a final act, which risks high melodrama to honest, lyrical effect. If any Hollywood studios still made adult drama on the regular, they’d be picking up Murphy’s card round about now.

In addition to putting its director and writer on the map, “Babyteeth” also serves as a fully fledged coming-out ball for 20-year-old star Eliza Scanlen

She nails a tricky assignment in her big-screen debut, playing both an ethereal otherness and a yearning, immediate, only-too-recognizable adolescent want in the cancer-stricken Milla — as befits a character who has both accepted that she’s not long for this world, and resolved to make herself a little more worldly within it before her time’s up.

 

THR

for a considerable stretch of this two-hour movie, which screenwriter Rita Kalnejais developed from her own play with mixed success, Murphy pushes too hard. She piles on the quirks in a series of short chapters with cutesy titles displayed onscreen in candy-colored text, nudging her actors to favor strained eccentricity over character integrity. The film can loosely be tied into a lineage of Australian cinema from the late '80s and into the '90s, centered around idiosyncratic young female protagonists who march to the beat of their own drum — Sweetie, Celia, Muriel's Wedding, Love Serenade — even if the endgame for Murphy is more sorrowful.

Babyteeth carefully avoids getting sucked into the maudlin trap of other films that have told similar stories, like Gus Van Sant's gratingly precious Restless. But often, you want to grab hold of everyone involved and give them a good shake, persuading them to calm down long enough to show some real feeling beneath all the over-caffeinated, heightened realism.

The movie — like the performances of its small ensemble — works best when the director gets out of her own way, forgetting her aversion to clean, conventional narrative and giving the material breathing space to resonate. This finally happens on the spiral into pathos that most such stories inevitably take. The fact that Murphy hits those notes with a wrenching force that feels honestly earned and not at all lachrymose is all the more surprising given the artificial feel of so much that's come before.

[New_Red]

4,5 - это фильм Полански?

[Зеленоглазка]

4,5 - это фильм Полански?

 

Да.

[Walter666]

[MaximumCoool]

Жокер всех уделывает.

[Citizen X]

Жокер всех уделывает.

 

Ага. Если закрыть пальцем строчку с Делом Дрейфуса.

Да и уделал так, на четыре, пять десятых балла Мартина Идена, Прачечную и Брачную Историю. Не очень убедительно, прямо скажем.

[MaximumCoool]

А че, прям у всех двойки должны быть для убедительности? Разница значения не имеет. Ну и у рус. и западной прессы Жокер и Полански уделал.

[Citizen X]

А че, прям у всех двойки должны быть для убедительности? Разница значения не имеет. Ну и у рус. и западной прессы Жокер и Полански уделал.

 

А у европейской Полански всех уделал. А в американской Брачная История уделал Джокера.

Так кто кого уделал то?

[MaximumCoool]

Золотая середина уделала. Полански не дадут, а западная пресса частично сжвшная, судить будут вроде как европейцы, так что Джокер

[Зеленоглазка]

MaximumCoool, вам Файги башляет, что ли? Вы так старательно делаете все возможное, чтобы окружающих уже просто тошнило от одного названия "Джокер".

[MaximumCoool]

Я просто статистику прокоментировал, потом Гражданин Икс решил поболтать на эту тему, че не так то?

[Зеленоглазка]

По статистике у итальянцев лидирует Полански, начнем с того. Но вы стабильно отметаете все факты, которые вам не нравятся, всех критикующих Джокера называете сиживями и так далее.

[MaximumCoool]

Я исключил Полански ибо ему не дадут. А критикующие Джокера действительно сжвшники, достаточно пробежаться по их "рецам", там сплошные пожары на полит/соц почве и обсер отталкиваясь от этого.

[Зеленоглазка]

На форуме отчаянно не хватает смайла фейспалм. Причем тут дадут-не дадут? Они просто выше, оценки итальянских критиков выше. И да, очень удобно одной рукой восторгаться средним балом на томатах, а другой ругать их же за топ-критиков, которые все (внезапно!!) сжв.

[Jdalker]

Вот только тут жюри из всего 7 лиц раздают. Они могут выбрать и кин с оценкой 2.1/5. Тут нет зависимости от приема. Помню как-то в Каннах выбрали самый обосранный фильм.