Каннский кинофестиваль 2021

[Julietta83]

Ой вей. Уже хочу видеть!

[Дензел]

Моретти и Пенн это что-то из нулевых. Давно прокисшее, а все еще подают к столу лол

Каракс их ровесник, а Верховен на 20 лет старше...

[MysteryMan]

Каракс их ровесник, а Верховен на 20 лет старше...

 

Возраст тут ни причем

[Зеленоглазка]

Сегодня еще у "Острова Бергмана" премьера, по нему уже есть что-нибудь?

[Walter666]

Есть французская рецензия с заголовком Остров Бергмана - лучший фильм Мии Хансен-Лёв. И ещё пару хвалебных отзывов видел.

[Зеленоглазка]

Спасибо. Такая реакция воодушевляет.

[Walter666]

Cannes 2021 Contenders: Here’s a Look at the Likely Winners

[Walter666]

 

Le film francais

Cahiers du cinema

Изменено 12.07.2021 16:44 пользователем Walter666

[Alessandrik]

https://smotrim.ru/article/2587396

[Tommy]

Ни за кого не болею, так как ничего еще не видел. В любом случае посмотрю всё до чего торренты дотянутся. Как никак главные фильмы года

[ORANGE'71]

Ни за кого не болею, так как ничего еще не видел. В любом случае посмотрю всё до чего торренты дотянутся. Как никак главные фильмы года

И нового Шона Пенна тоже?

[Tommy]

И нового Шона Пенна тоже?

 

Почему бы и нет. За что-то же его выбрали в основной конкурс. Интересно узнать.

[Walter666]

 

Le film francais

[тот кот]

Про Futura

Итальянский социалист и наш любимчик Пьетро Марчелло («Мартин Иден») вместе с режиссеркой Аличей Рорвахер сняли неплохой док «Будущее» о том, что у итальянской молодежи этого самого будущего нет (ну, или им так только кажется).

Будущая визажистка говорит о том, что мечтает о муже, который будет ее обеспечивать, пока она будет ухаживать за домом. Умная девочка не согласна — женщина должна работать. Третья девочка говорит о том, что в Италии на нее все косо смотрят из-за ориентации. Мальчик представляет, что в тридцать у него будет работа, машина и квартира, а в сорок он женится: «Нашим родителям было труднее. Они рано вступили в брак».

Когда же речь заходит о конкретной, а не воображаемой работе, все дружно твердят: в Италии работы нет, нужно уезжать (кто бы подумал?). А еще одна девочка просто гладит прирученную уточку со сломанной лапкой. Шарман!

The Italian kids speak freely on how they’ve been fucked over, in a method of filmmaking that takes its cues from 60s New Left collective (the politics are Dziga Vertov Group) and Pasolini’s LOVE MEETINGS (1964). Endless great sentiments and anxious observations.

A lovely interview film straight out of the "cinema of the people" tradition of radical, political collective filmmaking of the 60s and 70s, here put in the service of giving voice to the hopes and dreams of contemporary Italian teenagers.

[Andrewx]

Серебренников лучше зашел чем Андерсон. Интересно...

[Walter666]

Ещё интересные фильмы в сайдбарах

 

 

Денис Рузаев

Коваленко — выпускница той же нальчикской мастерской Александра Сокурова, которая открыла миру Кантемира Балагова, и «Разжимая кулаки» как местом действия (пусть здесь речь и о Северной Осетии, а не о Кабардино-Балкарии), так и, прежде всего, сюжетом как будто напрашивается на сравнения с прекрасным балаговским дебютом «Теснота». Но тем не менее ни на секунду не возникает ощущения повтора — как минимум в силу различий в режиссерской чувствительности между двумя сокуровскими учениками. Там где Балагов привносил завихрениями стиля и цвета в пространство кадра поэзию кино, Коваленко ищет ее в экранном действии — в периферийных, с точки зрения сюжета, отступлениях то на дрифты кавказских юношей на тюнингованных «Ладах», то на невыносимо телесные игры тех же парней в местной купальне (что роднит ее на уровне интереса к телу на киноэкране не только с тем же Сокуровым, но и с Клер Дени, а в плане готовности расширить диапазон авторского взгляда на мир, захватить определяющие этот мир мужские игры — с великими черными режиссерами вроде Чарльза Бернетта или Джибриля Диопа Мамбети).

 

Именно эта постановочная интонация (или оптика — не обладай это слово немного лишними в контексте разговора о «Кулаках» коннотациями) позволяет фильму Коваленко на символическом уровне все-таки разжать узы сюжета, уклада самой реалистической кинотрадиции. Их трение и сопротивление, нежелание провоцировать в зрителе не только понимание, но и трансгрессию, ощущается почти до самого финала, пока постороннее, как будто бы неоправданное с точки зрения рассказываемой фильмом истории, действие наконец не захватывает и саму героиню, до этого вкопанную в тяжелую кавказскую землю. Причем и этого эффекта Коваленко добивается демонстративным в своей заметности решением — если горы не желают расступаться, то за них это сделает сам кадр, вдруг начинающий рассыпаться на VHS-ную рябь. Мастерская, зрелая режиссура.

 

 

Sight & Sound

Starting on ‘Day 22’, the film plays in reverse chronological order, with periodic title cards counting down the days one by one. Familiar uses of the device, as in Memento (2000) and Irreversible (2002), generate narrative momentum through successive cliff-hangers, continuously stoking the viewer’s anticipation of what will happen next (or before, as it were).

 

Nothing could be further from the case here, as we watch three young people – one woman and two men, that eminently cinematic triangle – spend summer days doing not much at all in a house somewhere in the Portuguese countryside.

In the absence of an appreciable narrative, the intention seems to be of luxuriating in the sensuality of 16mm by capturing textures and the play of sunlight as the trio build a butterfly house in an orchard, or the vivid colours that bathe the garden at night, when a lamppost cycles through green, purple and orange in a manner reminiscent of the fluorescent tubes in Apichatpong Weerasethakul’s Cemetery of Splendour (2015).

 

And the carefully composed, gorgeously grained shots are indeed delightful to look at. A lengthy, drifting close-up of Crista moving through greenery and flowers while a melancholy guitar tune plays on the soundtrack, her face backlit and the image washing out whenever the sun shines into the lens, is pure seduction. The exercise does soon grow indulgent, though, and that’s when weird things begin to happen.

All this meta-waggishness is very self-satisfied, to be sure. And yet, through the thick blanket of irony gradually emerges genuine feeling, and the inverted chronology builds to a celebration of community that is heartfelt and poignant after the experience of the last year and a half. The film is bookended by party scenes, both shot from the same vantage and both scored to ‘The Night’ by Frankie Valli and the Four Seasons. In the first, Crista, Joao and Carloto are dancing in the empty living room; in the second, the space is teeming with jubilant bodies. Only one of them triggers intense longing.

 

 

Sight & Sound

As the title suggests, this is a road movie, a family trip by Mom, Dad with his leg in a cast, the eerily taciturn young adult son who drives their packed SUV, his hyperactive little brother and an ailing dog in the back. We’re never explicitly told their names, where they’re going or even why, though the older brother’s marriage arrangements are vaguely cited. At first, when his parents realise their youngest has smuggled a cell phone along to play music, it seems like a mere cheeky prank – until the mother cuts up the SIM card and promptly hides the handset off-road.

 

There’s genuine anxiety when they think they’re being followed, though it turns out to be a motorist concerned at their vehicle leaking oil, rather than state surveillance. For all the good-natured insults and feisty bickering – the film is consistently very funny – suddenly Panahi will hold a little longer than expected on a pensive close-up, imperceptibly darkening the mood. The route gets more and more rural, mountainous, misty. Disguised bikers appear urging clandestine meetings further ahead and the mysterious purchase of a sheepskin.

To reveal more would rob the film of its narrative surprises. What does need to be shared is the expert balance of knockabout humour and slowly tightening tension, intimate cramped car sequences and extended long takes against wide vistas. Impromptu karaoke scenes to Iranian pop tunes can switch from hilarious to heartbreaking in an instant.

 

Eventually what comes into focus is a tale of family flight and survival, sudden loss and stoic perseverance. That Panahi Jr is able to weave together slice-of-life realism with a 2001: A Space Odyssey-inspired, floating-among-the-stars fantasy sequence is testament to not just his range of influences (the delicate humanism of his father is highly evident) but his ambition.

 

 

Sight & Sound

A significant amount of time is spent, in Radu Muntean’s shaggy dog story Intregalde, attempting to dig a car out of a muddy bog. Sticks, a rope, a lot of revving and pushing; this takes up a not inconsiderable amount of screentime. And yet, because of Muntean’s intelligence, his command of character and directing of actors, because of a magic of some ilk that has by this point settled on the film, it is riveting.

What that summary doesn’t convey is Muntean’s exquisitely layered writing, which manages to establish character dynamics succinctly and derive as much tension and hilarity from these events as possible. His filmmaking, too, makes judicious use of its setting, creating a daunting, ever darkening forest, where the car is the only remaining trace of modernity for these characters far from the city. This dialectical setup is tight, neatly outlining a gap between young and old, new and modern, privileged and dispossesed.

In this admirably conceived drama, the bare bones of a narrative strive to afford the viewer a quite startling vision of our shared humanity, of a modernising country whose past still clings on, and of wheels still spinning, churning, flinging up flecks of loam and mud.

 

 

ICS

Daring, provocative and wildly inventive, there is nothing quite like Medusa – any film that starts with the image of a horde of masked vigilantes walking through the dimly-lit streets of working-class Brazil while Siouxsie and the Banshees’ Cities in the Dust plays is bound to be an unforgettable experience. The frequent oscillations between a touching coming-of-age drama about a young woman gradually nestling into adulthood and a work of brutal, socially mediated terror makes for an absolutely enthralling psychological thriller that is filled to the brim with imagery that evokes the darker side of human nature, all of it executed with razor-sharp precision by a genuinely gifted filmmaker (who also understands the immense effectiveness of a well-placed musical number). This is a bold work of unhinged artistry that weaves a harrowing sense of humour into the proceedings, the kind that is entirely bleak and is used as a tool to unsettle the audience through showing the absurdity of societal decay, rather than elicit laughter. The film deftly traverses numerous genres and emerges as an absolutely discordant, terrifying glimpse into contemporary society, while still finding time to be a sly satire on modern social media culture where the brutal wrath of the guardians of decency is celebrated through the perpetrators becoming viral sensations.

----------------------------------------------------------------

 

Leonardo Goi @Cannes

@LeonardoGoi

A propos the @Quinzaine being a treasure trove: if you’re looking for a gem that feels conjured from a marriage between ZAMA, Reichardt’s westerns, and the cinema of Alice Rohrwacher, THE TALE OF KING CRAB will be up your alley. A triumph of storytelling. #Cannes2021

 

Ioncinema

For their directorial debut The Tale of King Crab, directors Alessio Rigo de Righi & Matteo Zoppis fashion a framed tale about a legendary drunk as relayed by a tavern full of modern day bar flies reminiscing about their collective nostalgia. With a certain essence of plot holes being filled in along the way, the two part odyssey of an unfortunate ruffian switches tone and style for its second half, jumping from tragedy to bizarrely humorous. Like a spaghetti western, it hits a definite genre groove which feels uniquely self aware without seeming arch, a narrative crafted collaboratively for its own meandering, maximum effect. Recalling the works of several revered auteurs, Italian and otherwise, it’s a novel film of various intersections announcing an intriguing pair of new directorial voices.

there’s a certain rural fairy tale quality, like the vignette stylings of Rossellini’s The Flowers of St. Francis (1950). But upon banishment to Argentina, posing as a priest, in search for mythical treasures, outfitted with a literal crab in a bucket (“the crab is the compass and I am the map”), there’s an insanity here which courts early Herzog’s Klaus Kinski madmen, who were often accompanied by mammalian co-stars (and throw in a little Rutger Hauer from Ermanno Olmi’s The Legend of a Holy Drinker, 1988). As Luciano, Gabriele Silli has the ravaged semblance of a Jeff Fahey or Tom Selleck on an endless bender and is utterly fascinating to watch since we’re never quite certain when the inevitable conflict between him and his antagonists will occur. When it does, there are some unexpected outcomes, but Rigo de Right and Zoppis eventually defer to an old-fashioned shootout.

Amusing but darkly comedic, The Tale of King Crab infuses the power of oral tradition infused with vibrant cinematic finesse.

[Julietta83]

Фархади хвалят, пишут, что чуть ли не лучший со времён Развода

[Walter666]

У Фархади нету своей темы? лол

 

В общем, да

 

 

 

IndieWire B+

 

Farhadi plays to his strengths with “A Hero,” as he takes a classic premise and spins it around and around and around with enough centrifugal force to keep you rooted in place even as your sympathies fly in every conceivable direction. By the time this expertly constructed ethical clusterfuck finally slows to a stop, the simplest film that Farhadi has made since his international breakthrough 10 years ago has somehow become the most ambivalent, and also the best (although making such a pronouncement with certainty seems almost antithetical to the spirit of a movie that obliviates your judgement at every turn).

[empathy]

так это всё зевота, жду дюкорно.

[Walter666]

так это всё зевота, жду дюкорно.

 

Дюкорно пока нет, но есть такое из двухнедельника

 

 

Neptune Frost!!! I will sleep before I try to write coherently about it, but it’s a wild, urgent piece of poetry, Afrofuturism at its most creatively free. Genderqueer art ftw.

Neptune Frost c'etait monumental. Film Rwandais auto finance qui traitant du colonialisme au travers du coltan, du genre, de la technologie. Si vous avez l'occasion de le voir,foncez! Tout est dingue, l'image, la musique, la poesie, le discours.

NEPTUNE FROST: Aaah! This queer Afrofuturistic musical works in million brilliant ways! Spiritually & politically blending queer/trans*/Black life experiences, debunking society’s normativity coded hierarchy, giving life’s algorithms the finger. To the Revolution!

[Julietta83]

У Фархади нету своей темы? лол

 

Пилю, погодь.

[тот кот]

Запилите лучше темы для фильмов Гомиша/Фазендейро и Марчелло/Рорвахер.

[empathy]

можно, конечно, но велика вероятность, что они будут пустовать с момента создания. проще уж сюда скидывать, тут хоть прочтут.

[Julietta83]

Запилите лучше темы для фильмов Гомиша/Фазендейро и Марчелло/Рорвахер.

 

Пилите, пропустим

[Walter666]

 

Ioncinema

Le film francais

Изменено 14.07.2021 16:38 пользователем Walter666