More than 150 films were presented at the 74th Mostra in a dozen selections (1).
The problems of young people, their loves, their difficulties, their revolts are often approached by the cinema. This year, several films spoke of young people but none constituted the highlight of Venice 2017.
Highly anticipated, the new film by Abdellatif Kechiche, MEKTOUB, MY LOVE: CANTO UNO (180mn, Venezia 74), praised by the critics of Le Monde and Liberation, is far from La vie d’Adèle and does not deserve the three hours of projection of which a good part to contemplate young girls of Sète jiggling. Its interest is to show a mixed youth, without problem, besides the young Samir, on vacation, who has difficulties to conquer an old childhood ‘s friend, Charlotte, who is waiting for that.
LEAN ON PETE (Marcello Mastroianni Award for Best Hope Actor Charlie Plummer) by Andrew Haigh (121mn, Venezia 74) Kind of pedestrian road movie. The young Charley, 15, lives alone with his father, more concerned about his conquests than about his son. Charley finds work at a dubious owner of racehorses, makes friends with one of the animals and runs away with to save it from the slaughterhouse and join, after many adventures, an aunt. Who will be his surrogate mother.
Even in the United States, young people, however courageous they may be, are not just symptoms of a bright future but are also children
MARVIN (2) by Anne Fontaine (115mn, Orizzonti). Doubly interesting.
Through the story, that of a young from the popular milieu, in a recomposed and agitated family, persecuted for his homosexual tendencies by his peers. He succeeds, thanks to the school, his talents as an actor, his artistic encounters, the protection of a rich homosexual who recommends him to Isabelle Huppert.
Also, at the cinematographic point of view: the film presents his family life realistically then in a monologue of his own in front of Isabelle Huppert and finally in a play played with Isabelle Huppert. Who plays the role of Isabelle Huppert.
NICO 1988 (Orizzonti Prize) by Suzanna Nicchiarelli (93mn).
First image, a child looks at the nocturnal blush on the horizon and his mother tells her, it is Berlin that burns. Nico will be marked for life by this noise of defeat, planes, explosions. Trying to find him everywhere.
The film takes over the last two years of her life, 1986 to 1988, as a creator and interpreter of her own songs, during a tour in the Eastern countries, punctuated by the background of the explosions and her own songs. The life, agitated of the singer is only evoked: death of the father during the war, privations, model and then singer of Velvet Underground, single mother …
The Danish actress and singer, Trine Dyrholm, plays the role of and sings Nico.
SENZA DATA, SENZA FIRMA by Vahid Jallivand (104mn, Orizzonti). A doctor, by car, knocks a scooter with a couple and his child. He compensates the father with money and advises him to bring the child to the nearby hospital. He sees the scooter leaving that does not go to the hospital. He later learns that the child is dead. Botulism according to the autopsy done by his wife, herself doctor …
But the doctor still feels guilty …
In UNA FAMIGLIA by Sebastiano Riso (105mn, Venezia 74), a Franco-Italian couple seems to live the perfect love. But the man leads the couple in a good deal: sell to a homosexual couple the child they are going to do. The woman who has accepted, out of love, only continues under pressure, and can not go to the end especially when the homosexual couple refuses the child who has a malformation …
An sordid aspect of the GPA.
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (Martin McDonagh Screenplay Award) by Martin McDonagh, (110mn, Venezia 74). Nine months after her daughter was raped and murdered, without the guilty being found, an energetic mother praises the three large billboards at the entrance of the city to post the question: What does the police do? This does not go unnoticed and highlights tensions and, in particular, the violence of some racist police … But the mother resists … The billboards are set on fire … She sets fire to the sheriff’s office … A young man boasts of having killed and raped a girl. Thanks to DNA, he is innocent …
With a repentant policeman, she decides to pursue him to shoot him down … On the way, they both wonder if they still want to …
ANGELS WEAR WHITE (JIA NIAN HUA) of Vivian Qu (107mn, Venezia 74) hapens in a Chinese hotel. The receptionist is replaced by a friend, a service woman, who sees, in the night, on the screen of video surveillance, the director enter the room of two girls who push him back … A lawyer makes an investigation parallel to that of the police, more or less to the orders. But official expertise establishes that the young girls were not raped. This satisfies a family that does not want history. The father of the second girl protested in vain.
More than a film about young people, it is a glimpse of Chinese society: young woman without paper, pressure towards prostitution, corruption, untouchable leadership …
THE THIRD MURDER by Kote-ada Hirokazu (124mn, Venezia 74). A Japanese industrialist is assassinated on the banks of the river. An accused employee recognizes the crime and then retracts.
Who killed ? For whom? The employee for his own account? On behalf of the industrial woman who wants to get insurance? For the daughter who was raped?
It does not matter to the employee to be sentenced to death, he only wants to be recognized innocent by his lawyer.
FOXTROT by Samuel Maos (113 mn, Venezia 74) recounts the tragedy of an Israeli family informed, by mistake, of the death of the son in the army in an operation, codenamed , Foxtrot. When the error is acknowledged, the father makes a crisis and gets his son released from military obligations … He will not see him again.
THE INSULT (Kamel El Basha, awards) by Ziad Doueiri (115mn, Venezia 74) takes place in Lebanon. What should remain a mundane neighborhood incident degenerates into a community clash between a Lebanese Christian and a Palestinian worker, without paperwork, a site manager.
We finally learn in court that they have a close history. Both had to flee the destruction of their village under different circumstances.
The conclusion of a lawyer, we must learn to live together.
ESPÈCES MENACÉES by Gilles Bourdos, (105mn, Orizzonti) is built around 3 stories that eventually meet. The wedding night of a couple starts badly: the bridegroom makes a scene of jealousy about the past of his young wife. This will not stop there … In the adjoining apartment, separating from his wife, the neighbor enjoys, despite himself, muscle clashes. While his 18-year-old daughter tells him she is pregnant and is marrying a 63-year-old faculty teacher …
In PIN CUSHION by Deborah Haywood (85mn, Settimana della Critica), a mother and her daughter, both marginal, try to integrate themselves into the community but are repelled, mocked, the mother for her eccentricities despite her kindness, the girl because of its naivete. The characters are too caricatural, both too benighted and seemingly too benighted.
The two actresses do however a remarkable work.
It is also a question of integration illustrated by SUBURBICON by George Clooney (104mn, Venezia 74) but much more classic. To escape the city’s troubles, to isolate oneself, many Americans have bought their dream home in a condominium where everything is for the best in the best of all worlds. But a black family settles in and protests, petitions begin …
It is still integration that Abel Ferrara speaks in PIAZZA VITTORIO (82mn, Fuori concorso). He interrogates old and new inhabitants, very diverse, of the place Vittorio Emanuele in Rome. Of course the opinions are contradictory and highlight negative and positive experiences of integration in Italy.
Not in order to safeguard their microcosm but to save life on a planet that runs into asphyxiation, Norwegian scientists, in DOWNSIZING by Alexander Pagne (135 mn, Venezia 74), propose to apply their discovery to all planet: miniaturize humans to reduce their ecological footprint. In the miniaturized society are the same social problems …
Since the majority of the population did not choose miniaturization, the world is at its loss, the most convinced miniaturized ones decide to lock themselves in a subterranean prepared to survive. The hero whose wife has retreated, at the last moment, during the miniaturization decided in common, does not participate in this new adventure …
The same ecological concern is found in FIRST REFORMED by Paul Schrader (108mn, Venezia 74). In the first Reformed church of the State, the priest confesses a young woman who asks him to meet her husband, activist, disturbed by the future of the planet. The interview will not lead to the desired solution.
In the VILLA by Robert Guediguian (107mn, Venezia 74), there is no question of the survival of the planet but, more modestly, that of a small world of solidarity, fraternity living in a creek near Marseille. Around the restaurant run by one of them who took the succession of his very ill father. There are also his retired brother with his too young fiancee who is going to leave him, his sister, an actress, who came from Paris, a young fisher, a lover of poetry and theater because he heard, long ago, the neighboring actress , a couple of old retirees whom their son comes to see and who do not want his financial support.
All this little world lives in nostalgia. Except the young bride and the son of neighbors who are, elsewhere, modern, computer, motorcycle, comfortable in business.
An endangered world outside the young fisherman and perhaps young people who have arrived by sea
The fourth age can also have its modernity. In the LEISURE SEEKER (Ella & John) by Paolo Virzi (112mn, Venezia 74), at the initiative of the woman, a couple of nonagenarians takes the old caravan, without warning their children, for a (last) great trip: comedy with a leading woman and a husband, specialist of Hemingway, to memory to eclipses ..
OUR SOULS AT NIGHT (Golden Lion for their career, Jane Fonda, Robert Redfort) of Ritesh Bacra (103mn, Fuori concorsi). Addie and Louis, eighteen-year-old widowers, are neighbors but hardly know each other. One day, Addie decides to cross the street and go to propose to Louis to come to sleep at her place, not for sex but to fight the solitude of their nights. Finally, Louis agreed. Of course, things will not stay there … Their common nights becoming more frequent, more visible, make the friends chat… The couple finally show up, arm-in-arm downtown … But the son of Addie does not agree, he raises his son alone … Finally Addie will go to live to take care of his little son.
Lovers will only have to resume their nocturnal conversations over the phone.
The Italian cinema presented 2 films BRUTTI E CATTIVI by Cosimo Gomez (86mn, Orizzonti) and AMMORE E MALAVITA by Manetti Bros (133mn, Venezia 74). Announcement of a new Italian genre? Brutti e cattivi, whose title recalls the Brutti, sporchi e cattivi by Ettore Scola, diverts the film of thugs who break their lives into a bloody and grotesque comedy. In the band of thugs who launches the hold up of teir lives, hope of financial security for a long time, the head of the bnd, amputtated of both legs will lose an arm, his beautiful wife has no arms, she will be amputated with a leg, their team is made up of a dwarf …
Although a Chinese mafia puts itself across the road, the hero will recover all the money and will be made magnificent prostheses.
In Ammore e Malavita, Don Vincenzo, king of the fish and member of the Neapolitan camora, feeling in danger, decides to die in order to enjoy life calmly. But a nurse, having seen what she could not see, must disappear. Ciro, in charge of the case, discovers that Fatima is his first and great love. To protect her, he will have to face all his old team in the service of Don Vincenzo.
On this scenario, a bloody and musical Neapolitan comedy that does not take itself seriously.
Conversely, GATTA GENERENTOLA by Alessandro Rak, Ivan Cappiello (86mn, Orizzonti) takes Cinderella in cartoon form as a thriller.
The Australian film, SWEET COUNTRY (Special Jury Prize) by Warwick Thornton (112mn, Venezia 74) takes over the western tradition, but here Indians are aboriginal victims of racism, including from a policeman against whom the local judge can enforce the law. Sam, the aborigine is acquitted but he has to leave town, escorted by the sheriff.
He is shot down at the gates of the city.
MOTHER by Darren Aronofsky (120mn, Venezia 74). A great poet, in difficulty of creation, lives in a beautiful house secluded under the protection of his wife. One evening a doctor knocked at the door. The poet offers hospitality despite the reluctance of his wife. Then comes the family. These hosts turn out to be more and more invasive but great admirers of the poet who can not refuse them … The doctor is sick, he must be evacuated to the hospital, the children come .. All the neighborhood knows that the great poet is there, who can not refuse anything … The house is plundered but his vanity is satisfied. The house burns. The woman dies but the poet extracts from his heart, the love, the diamond that will help him in his work of creation …