The first tax haven, Steven Soderbergh explains in 'The laundromat' (laundry), was not located in any exotic island or in an alpine nation with a weakness for chocolate, but in the very heart of the empire. In Delaware, for more signs. And the most powerful country in the world, always so worried about the terror of outside suffered in its own flesh, protected, financed and even armed terrorist groups with residence, also fiscal, in Miami. This last statement is paid by Olivier Assayas in 'The wasp network'. Otherwise, and as the air traffic controller of 'Land as you can' would say, Steve McCroskey, a bad day to leave any vice; included, of course, the snorting glue.
Let's say the Mostra lived on Sunday its particular day of Mr., Mr. Trump to be precise. Someone once said that the best British cinema was indebted to Margaret Thatcher. Without it, we would not know Loach, Frears or Leigh . Well, there is already a good part of the recent film production that also owes its own to the deregulatory orgies of the 80s; sludge that spawned larger and thicker sludge; dusts that left us helpless before the magical power of the not yet contemplated Laffer curve. And so.
'The laundromat' takes the witness of Adam McKay's ironic-pedagogical films. Remember 'The big bet', for example. In this case, Soderbergh is responsible for counting on the help of a few graphics and two masters of ceremonies ( Antonio Banderas and Gary Oldman ) in what was that of the Panama Papers. About the book and Pulitzer Prize of the journalist Jake Bernstein, it is about illustrating the path that goes from the purchase of life insurance to the disappearance of money in a complicated tangle of foremen, 'offshores' and fictional societies. Everything is to escape the fiscal hell of civilization. Then we will discover that complexity is directly proportional to the size of greed and shamelessness.
The film follows the trail of a widow incarnated by Meryl Streep that one day discovers that this is so difficult to define and tame as the future is the living space of liars. After all, as anthropologist Peter J. Wilson made clear to us, man (both good and bad) defines his ability to promise. And lie. The woman has no way to collect the policy that her husband signed before she died in an accident for the simple reason that nobody knows what anything is worth. What follows is a tape that, in its own way, replicates in the structure the same labyrinthine behavior of the object explained. Everything goes: from turning the screen into a 'power point' to skip the fourth wall through a joyful celebration of chaos as close to comedy as tragedy. For the inexplicable and the painful.
The result is a nice provocation that illuminates as much as it despairs. In fact, the work in 2016 of 400 journalists who analyzed about 11.5 million confidential documents to expose both the shamelessness of some and the inefficiency of the system itself seems to have translated into ... nothing. Everything remains the same. That said, a bad day to stop biting stepparents.
The Cuban neighbor
Olivier Assayas' work is different from Soderbergh's, and yet he shares the same melody . Again, it is a real case and, again, what matters is shamelessness. So in general. 'The wasp network' tells the story of five Cubans infiltrated in Miami anti-Castro organizations that in the 90s were dedicated to, among other things, putting bombs in Cuban tourist establishments. The director maintains that in a time like the one we live in 'fake news' we may forget that propaganda has always existed. And there he leaves.
The director's strategy does not differ so much from that employed in his great work 'Carlos', his particular merciless portrait of the terrorist the Jackal. The camera flows in tension between the bodies of some characters always within a second of bursting. It is a story of spies and as such the story itself behaves: enigmatic, feverish and random. It is true that this time everything flows in a somewhat more rugged and confusing way than in his previous work. The erratic definition of history is left badly arranged in a structure that wants itself free of formal schemes and ties. At times, Assayas lost himself in the endless collection of characters and lives until he simply lost focus.
Of course, the cast looks in that strange and vital confusion halfway between reality and fiction that is already a mark in the director's filmography. Among Gael García Bernal, Édgar Ramírez, Wagner Moura or Ana de Armas, once again emphasizes the ease of Penelope Cruz to offer himself as unprejudicedly free as the staging demands. Once again, nobody handles spaces, times and tones like her. It is like that.
That said, and with Steve McCroskey, a good day to stop believing in tax breaks. For example.
Sorrentino and his father in duplicate
For the rest, Sorrentino has a new Pope . This is English and the main merit that looks on his resume is his ability to change the conversation. When others expect him to talk about religion, the Holy Trinity or hunger in the world, he prefers to do it on any other matter: time, football, even politics. The method gives its results. He is backed by the highest rate of conversions in his own country in the heat, who knows, if Brexit: from Anglicanism to Catholicism without going through Purgatrory. And, indeed, that is the merit that the Pope played by John Malkovich (yes, he) shares with the director of the series' The new Pope 'that was presented Sunday in Venice as it was a few years ago' The Young Pope ', of which it is continuation and until refutation.
Sorrentino, we said, is always something else. When everyone expects him to insist, like his Jep Gambardella, on those voluptuously lost characters in the labyrinth of his hedonistic and carnal condition, he prefers to give voice to the most selfless and stoic creatures. And so on, always. Always between immaculate ecstasy and poisoned flesh , always between the smell of holiness and the sulfur stench of necessarily eternal damnation. Amen.
The new HBO series composed of 10 chapters of which two were seen yesterday, begins at the exact point that the previous one ended: with the Pope who Jude Law gives life in a coma. And, like her predecessor, she lives all of it inside the Vatican located at the same distance from heaven as from hell; place of intrigues and stage of atonement. What was seen is the story of a premier Pope convinced that only fragile saves , only fragility hides the possibility of true mystery. That at the same time that the old Pope remains motionless. Until he wakes up. Then, we will have two representatives of Peter on Earth. The papacy will then be one and 'doppio'. Like coffee.
They say that Pope Innocent X rejected 'The Ecstasy of Saint Teresa' sculpted by Bernini for considering the work closer to eroticism than mysticism. Probably and for the same reason, I would hate this indefatigable reading of the "greatest and most convincing theater in the world", in Sorrentino's expression. It has already been said, if he asks about Catholicism, he prefers to talk about theater. And so.
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