Vincent Lindon, during the awards ceremony of the 75th Cannes Film Festival, says that the jury, of which he was the president, made the decisions in perfect harmony. We believe him. Prizes distributed as hosts, two tie marks. We wonder if this harmony is nothing but conciliatory indulgence, if not promotion and shelter from controversy.
We are amazed and not amazed by the winner of the Palme d’Or: The Triangle of Sadness by the Swedish Ruben Ostlundalready winner in 2017 with the bel The Square. At least it’s not a therapeutic film. But … After an incipit that gives euphoria, as we have said, in the second part we go adrift. Not only that, cynicism risks becoming fashion. The tone is satirical-grotesque, the intention is to provoke, the refrain, so similar to the Parasite Palme d’Or in 2019, the struggle of social classes: the super poor and the super rich, with an accompanying cathartic reversal. Will the rich survive, as the present wants, or the strong, as nature would like? Wertmüller docet.
Many were convinced it won Closeby the Belgian Lukas DhontCaméra d’Or four years ago with his first long: Girl. Close is the story of a male friendship, between details and introspection.
However, won the second prize, the Grand Prix, shared with Stars at Noon by the French Claire Denis, with Margaret Qualleydaughter of actress Andie MacDowell and ganzissima follower of Manson in Once upon a Time in Hollywoodby Tarantino (we prefer to forget about the TV series MaidAndpopea of bad luck even if you are cool, smart and have all your teeth).
Happy for the Prix Interprétation Féminine. The Iranian, now a French citizen, wins Tsar Amir Ebrahimi for her interpretation of her in the crime thriller Holy Spiderdirected by Ali Abbasi, about whom we wrote.
“I have come a long way to be on this stage,” Ebrahim says at the ceremony. He’s wearing a dress that seems to be missing only a veil. But we forgive her everything. Moving to Paris in the wake of a sex tape scandal, we watch her and get a little emotional. We are sentimental. Good. We fell in love with the character in Holy Spider. We don’t want to, but in the end we intertwine her personal story with that of the protagonist, a tacitly subversive journalist, a mix between Masih Alinejad and the girl who in Persepolis he sought freedom, denied by the regime, wearing sneakers and listening to punk music. “This film is about women and their bodies,” she added. “It’s a film full of faces, hair, hands, breasts and sex, all that is impossible to show in Iran.”
Winner of the best male interpretation, the South Korean Song Kang-ho, in the memory of cinephiles from Parasite. He is one of the protagonists in the film, bittersweet, of the Japanese Brokerdirected by Hirokazu Kore-eda (Shoplifters). Road movie linked to South Korean baby boxes where mothers in difficulty can leave their children. It all started with the idea of a pastor, Long Jong-Rak. We had so many hopes. We were a little disappointed. The villains are not villains at all, so much so that we don’t believe them, and the ending is all too compliant. It rejoices, however, as in Shopliftersfor a sentimentality devoid of sentimentality.
For Italians, Eight mountainsdirected by the Belgians Felix van Groeningen and Charlotte Vandermeersch and with Luca Marinelli and Alessandro Borghi, wins the Jury Prize, ex aequo with EO by Pole Jerxy Skolimowski, who thanks his asses from the stage. Yes why, Eo has a donkey as its protagonist.
We are sorry that nothing goes well Les Amandiers by Valeria Bruni-Tedeschi. Too lively, authentic, not trendy?
Same for Nostalgia by Mario Martone, with Pierfrancesco Favino as Felice. We have seen it. Martone is a master of direction. His theater is in his cinema. He dives into it. The story, based on the novel of the same name by Ermanno Rea, speaks to everyone, but above all, perhaps, to expatriates. We cannot, therefore, not think about There moon and bonfires by Cesare Pavese. Sorry. Like Anguilla, also the protagonist of Nostalgia he left Italy at a very young age. A growth that breaks one’s own identity, without however ever letting the other go away. The first. The original, in the case of Felice linked to the Rione Sanità. The cursed homesickness. Being in a perennial middle ground. With a convincing premise, we then get lost in the following reasons. We no longer understand Felice. In the hall, at Cannes, we were approaching the end, continuing to ask ourselves: “Why?”. We don’t reveal the reason, we don’t want to spoil.
But Nostalgia it seems to us a pity, albeit wonderful.
“A country means not being alone, knowing that in the people, in the plants, in the earth there is something of yours, that even when you are not there it remains waiting for you”
Cesare Pavese, The moon and the bonfires
“That’s where he wanted to find a home, because there Health knows like nowhere else about maternal womb, birthright, the beginning of a very long past that has never passed, silence and tumult of a fire that continues to smolder under the ashes.”
Ermanno Rea, Nostalgia
Cover: Zhifei Zhou via Unsplash
Frame from Triangle of Sadness: Platform.
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