Attending a film festival without being a professional, without being in the cinema environment, lets see many movies in a few days. Most often at random depending on the schedules of films, rooms, queues, sometimes pushed by a conversation with anyone or reading reviews published in newspapers distributed free.
Julian Schnabel, the director of At Eternity’s gate on Vincent Van Gogh (1) said that the only way to describe a work of art was to make a work of art. This is what he did in an interesting way by trying to translate the psychological difficulties of Van Gogh essentially by camera movements and his painting by the intense use of color.
The choice of Florian Henckel Van Donnersmarck, in Werk ohne Autor (2), is very different and more classic. He describes the long journey of a young painter to become himself, as requested by one of his teachers, despite the constraints of Western fashion. After the constraints of the communist regime. He finally succeeds in making progress in his portraiture, not in the portrait of command imposed by his father-in-law, compromised in the Nazi and then Communist regimes, but the portrait that also reflects the social reality in which he lives.
It is also this theme that we find, with more or less happiness but in the field of cinema, with Les estivants of Valeria Bruni Tedeschi (3) and The other side of the wind, (4): last film of Orson Welles, shot in the 1970s, unfinished and finished by collaborators, after his death.
Doubles vies of Olivier Assayas (5), deals, among others, this theme around a writer of novels, strongly egocentric. But this film, marivaudage with three couples of the world of the Parisian edition, addresses other questions including that of the press and the edition in the face of the digitization which threatens them.
Some films can be more or less considered docu-fictions.
Damien Chazelle’s The First Man (6) narrates the preparation, selection and journey of the first man to walk on the moon, Neil Armstrong, and the repercussions on his family life: an exemplary man in an exemplary USA family.
In 22 JULY (7), Paul Greengrass, through the story of a wounded young survivor and his family, reconstructs the deadly Oslo bombing by a right-wing extremist, an attack which a involved many victims including 77 dead..
Sulla mia pelle (8) by Alessio Cremonini recounts the story of an Italian news item: a young consumer and drug dealer is arrested by the police and succumbs, some time later, to the blows received during his interrogation. The facts are obvious, the state of the young at the entrance and exit of the interrogation testifies. For fear of retaliation, the youth does not dare to denounce the responsible policeman known by the exchange of glances.
Without being docu-fiction, some movies are related to facts that have, for a moment, made headlines.
Like Acusada (9), an incomplete reconstruction of a news item in Perugia, Italy. And its aftermath. A girl is murdered in a party. One girl among her friends, whose compromising images she has posted, is charged. Heavy situation despite his final acquittal.
Amanda (10) gets further away from docu-fiction. The dramatic news of the attacks in Paris serves only as a backdrop to the evolution of a family situation. The mother who is taking care of seven-year-old Amanda disappears in an attack and Amanda’s life, her family’s, is turned upside down. Dramatic circumstances do not prevent a glimpse of a peaceful future …
In a very different context, Mario Martone’s Capri-Revolution (12) was inspired by real events: a community created by a Utopian painter at the beginning of the last century on the island of Capri. A shepherdess discovers in the mountains, a group of young people, hippies before the hour, loving art, freedom, naturism, free love … Living in a village with strong traditions, with two authoritarian brothers to whom she opposes, she is seduced by their artistic activities, music, dance …
Between the strong tradition of the village, the revolution through the arts or the scientific and socializing reason of the doctor who cured her, while the army calls her brothers, what will she do?
If, once again, the films of woman were rare in the various selections, the female characters had an important place.
Capri-Revolution could be placed in this group of films.
Roma (13), Golden Lion Award, falls into this category. In a wealthy family living in a bourgeois district of Mexico City (Roma), the father leaves the family home, wife and children, while the nanny-servant becomes pregnant, is abandoned by the parent who participates in the repression of student revolts. The two women face the difficult situation that the men left to them.
In Napszallta (Sunset) (15), it is also question about a young woman: heiress despoiled of a large headgear in 1910, she comes to Budapest to be engaged in the old business of her parents. As in his previous film, Saul’s Son, Lazlo Nemes, the director, leads his heroine in search of a brother, leader of the revolutionaries…
Other films give the main role to a woman, like Suspiria by Luca Giadagnino (16), Deva by Petra Szocs (17), Dachra by Abdelhamid Bouchnak (18)
Beyond these quality films, arranged by topic, we must not forget, three remarkable films.
The ballad of Buster Sruggs (19), six short stories of the Coen brothers who take classic western themes as humorous fables.
Natasha Merkulova et Aleksey Chupov, direcftors of The man who surprised everyone.
This film follows a television series, inspired by a book by Elena Ferrante, and should know other episodes …
The Nightingale (23) by Jennifer Lent. A young Irish girl decides to take revenge for the violence of English soldiers, colonists in Australia, as racist towards the Irish as towards the Aborigines: rape, murder of her husband and her child. The guilty soldiers having left the region, she engages of necessity, in spite of her racism, an aborigine to serve as a guide.
This barbarism against the Aborigines and against the Irish deported to Australia, this violence suffered and shared will lead the two heroes of the mutual, necessary aid to the discovery of the other. The song of the other.
With Western The Sisters brothers (24), shot in English, Jaques Audiard sets off to conquer the west. These two brothers who killed and killed without much emotion and scruples, their job, must find a scientist, a researcher of gold. They accomplish their mission but eventually return to the family ranch to change their lives. There is no doubt that the film will reach its audience in France. Will he pick up the Grail as some promise him? In Venice, he touched and the audience and the jury.
David Oelhoffen’s Frères ennemis (25), childhood friends, mostly of Maghrebi origin, lived in the same neighborhood but are no longer on the same side of the barrier. Some live by drug trafficking and are sinking more and more into delinquency greater than them, from hashish to cocaine in large quantities. The other is in the police, stalking them while trying to avoid the worst ….
The fraternity in S. Craig Zahler’s Dragged across concrete (26) is more complex, multiple. During the action, several fraternities are built. A pair of police officers, one black and one white, is suspended for using excessive means to arrest two offenders. In the wake of a major bank attack, they decide to treat the case for themselves and recover the money. The case goes bad because two accomplices have already planned to double the main team. Last survivors, one of the two accomplices, black, and the old policeman, white, decide to join forces …
The man who surprised everyone by Natacha Merkulova and Aleksey Chupov (27). Learning that he is suffering from an incurable disease, a man, a good husband without a history, settles all his affairs and changes his behavior completely: he decides, without saying a word, to display his deep identity.
Aquarela by Victor Kossakovski (28): magnificent film on climate change. In the Far North, the rescue of cars that have sunk into the water due to an unexpected melting of ice, the noisy and majestic fall of huge masses of ice that sinks into the water and rise up like deep breathing, the huge waves, and blue, and black, the sailboat in the storm, the terrible force of hurricanes …
Other films seen:
Kraben rahu (Manta Ray) of Phuttiphong Aroonpheg, 105 mn, Orizzonti.
Peterloo of Mike Leigh, 154 mn, Venezia 75.
La profezia del armadillo of Emanuele Scaringi, 99 mn, Orizzonti.
Ni de lian (Your face) of Tsai Ming-liang, 76 mn, Fuori Concorso.
Vox lux of Brady Corbet, 110 mn, Venezia 75.
Un giorno a l’improvviso of Ciro d’Emilio, 89 mn, Orizzonti.
Deslembro (Unremember) of Flavia Castro, 96 mn, Orizzonti.
La notte de San Lorenzo of Paolo et Vittorio Taviani. 107 mn, Venezia classici restauri.
Blu of Massimo d’Anolfi and Martina Parenti, 20 mn: documentary on the construction of the Milan metro which, by the image alone, gives rise to a certain suspense.
Leoforos patision of Thanasis Neofotistos, 12 mn: a woman caught in the turbulence of a strongly repressed demonstration, is suspended on her cell by the anxiety of knowing her child alone at home.
Strano telo by Dusan Zoric, 20 min. A young woman begins a testimony about the rape she suffered from Serbian soldiers. In a swimming pool, three friends are training. They go in a night club. One is led by a young woman who provokes him by asking for a very vigorous moment. She is finally satisfied. But he goes sick of what he did. He ends up in the army, proud of him. The loop is closed.
Na Li (Down there) by Yang Zhengfan, 11 mn. L’été et tout le reste by Sven Bresser, 18 mn. Ninfe of Isabelle Torre, 12 mn. Los bastardos byThomas Posse, 16 mn.
1 – At eternity‘s gate of Julian Schnabel, 110 mn, Venezia 75, VolpiCup of male interprétation masculine for Willem Dafoe in the role of Van Gogh.
2 – Werk ohne Autor of Florian Henckel Van Donnersmarck, 188 mn, Venezia 75.
3 – Les estivants of Valeria Bruni Tedeschi, 126 mn, Fuori Concorso.
4 – The other side do the wind of Orson Welles, 122 mn, Evento speciale, prize Campari.
5 – Doubles vies of Olivier Assayas, 107 mn, Venezia 75.
6 – The first man of Damien Chazelle, 135 mn, Venezia 75.
7 – 22 July of Paul Greengrass, 143 mn, Venezia 75.
8 – Sulla mia pelle of Alessio Cremonini, 100 mn, Orizzonti.
9 – Acusada ofGonzalo Tobal, 108 mn, Venezia 75
10 – Amanda of Mikhael Hers, 107 mn, Orizzonti.
11 – Charlie says of Mary Harron, 104 mn, Orizzonti.
12 – Capri-Revolution of Mario Martone, 122 mn, Venezia 75.
13 – Roma of Alfonso Cuaron, 135 mn, Venezia 75, Golden Lion Award.
14 – The favorite of Yorgos Lanthinos, 120 mn, Venezia 75, Jury Grand Prize and Volpi cup of female interprétation to Olivia Colman in the role of queen Ann.
15 – Napszallta of Lazlo Nemes, 142 mn, Venezia 75.
16 – Suspiria of Luca Giadagnino, 152 mn, Venezia 75.
17 – Deva of Petra Szocs, 82 mn, Orizzonti.
18 – Dachra of Abdelhamid Bouchnak, 113 mn, Fuori Concorso.
19 – The ballad of Buster Sruggs of Joël and Ethan Coen, 133 mn, Venezia 75, Prix du scénario.
20 – La quietud of Pablo Trapero, 120 mn, Fuori Concorso.
21 – A star is born of Bradley Cooper, 135 mn, Fuori Concorso.
22 – L’amica geniale of Saverio Costanzo, 120 mn, Fuori Concorso.
23 – The Nightingale of ennifer Lent, 136 mn, Venezia 75, Jury special Prize and Marcello-Mastroianni Prize Young Emerging Actor Awarded for Aboriginal Actor Baykali Ganambarr.
24 – The Sisters brothers of Jaques Audiard, 120 mn, Venezia 75, Silver Lion of the best staging.
25 – Frères ennemis of David Oelhoffen, 111 mn, Venezia 75.
26 – Dragged across concrete of S. Craig Zahler, 158 mn, Fuori Concorso.
27 – The man who surprised everyone of Natacha Merkulova and Aleksey Chupov, 105 mn, Orizzonti.
28 – Aquarela of Victor Kossakovski, 89 mn, Fuori Concorso.
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