Mostra: Guédiguian, Saviano and the algorithm that takes us

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Guédiguian, Marseilles and apocalyptic states that things are going wrong. "Worse and worse," he insists. Few diagnoses so self-concluding and even irrefutable. Beside him, or just after, is the writer Roberto Saviano who takes the floor to draw just a duly bleak note of the world we step on: " Cocaine trafficking is equal to or more profitable than oil . And it moves more money. Yes consumption would be legalized, the financial system would fall apart. " Turbocapitalism called it. The first presented Gloria mundi and the second did the same with Zerozerozero , the series based on his book and directed by Stefano Sollima. Finished the respective projections, there were no veins for such a cut.

In the natural order of disasters, first it was the turn for the French director. His movie is him again. As in 20 of his 21 productions, the protagonist is his wife, Ariane Ascaride . And as in all of them, Marseille sports its most torn galas. The story of a family is told. But not from any one, but from the family by any definition. The grandfather leaves the prison after a long sentence for murder. What he finds is a daughter and a son-in-law who live badly or almost with garbage. That at the same time that another branch of the kinship is dedicated to the business of buying and selling second-hand (all useless) artifacts. Accelerated consumerism and precarious employment , side by side.

So told, everything seems normal and, indeed, that is the problem: that normality has ended up being confused with something very similar to misery. Guédiguian knows full of reason and exposes his arguments in raw. Without stopping at anything that does not prove right. The problem is the lack of modulation (not moderation). In his effort to prop up the apocalypse, there is no trumpet or exterminating angel to overtake him . Although, it is so, the collateral damages of such clarity are the plausibility, the narrative order or, simply, the sense, the sense of the measure. Sometimes, being right is not enough.

Something similar happens with Zerozerozero . But otherwise. The two chapters presented accumulate so many clichés, repetitions, slow cameras, helicopters and common places about the mafia and drug trafficking that it would be said that far from being Saviano the inspirer is a simple algorithm. Or, better, the same algorithm that cornered our tastes, is now dedicated to putting together planes. Little good can be said of two hours of history that would fit perfectly in five minutes of a normal movie (minute and a half if it is good). When you hear that about the bubble of the series we live, here is one that serves as a perfect example. Pity.

Portugal in melodrama

Finally, the official section was completed with A heredade (the estate), the film farthest from the spotlights and, nevertheless, the most interesting. Often happens. Tiago Guedes strives to tell the recent history of Portugal from the perspective of a rich landowner, the greatest of all. Dictatorships, revolutions and a thousand galloping horses pass through the unfeasible estate of the title. But there it remains: impassive to the gesture and the German . The director's strategy is to use melodrama weapons to rebuild the very soul of time. And in the first half of the tape, until reaching the Carnation Revolution, the mechanism works close to perfection. Each character wears an archetype and each of the archetypes fits easily into the political and sentimental history of an entire country.

The problem comes later, when the unconfessable secret that marks the misfortune of the whole family is revealed. Then, the film forgets the pattern and intelligent distance that it must keep with the genre that it uses as a tool to directly fall into more swampy and infinitely more debatable terrain: the bad telenovela tone devours everything. And that is to contravene the rules that the film itself is granted at the beginning. Anyway, there is an epic waste as suggestive as furious. In addition to irregular, of course.

In the end, what will end the Treasury will be the new economies that can never fit a fairly habitable concept of time itself. It is not the revolution, it is the banks . Turbocapitalism, again. We are going wrong.

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