For a few years the Seville Festival has become a brilliant 'greatest hits' of European cinema of the season. Everything that, right after its presentation, stands out in Berlin, Cannes, Venice or Toronto and that probably due to the rush and the informative jam of the great festivals does not reach the resonance that it should, ends up getting it here. The case of this year's winner and Giraldillo de Oro is the most emblematic of all. 'Martin Eden' was, by vocation and intention, the most provocative and risky of the possible gold lions in the Lido event . In a dramatic turn of events, the prize went to ' Joker ' and Pietro Marcello's prodigious work had to settle for entering the winners hand of his actor, the always snatched Luca Marinelli. Well, the rematch has arrived in Seville.
The jury has decided to highlight its intensity and vibration (that is read in the specifications) and is correct. He could also have been left with the overwhelming sensation of choking, with nerve, surrender and fury . But even hyperbole has a limit. The Italian director adapts the autobiography of Jack London to the gesture of a Neapolitan cabal. And so things, he manages to translate every word of the past to the most obvious actuality. Enthusiasm point by point. And he does it by entering the skin of a foreign character by offering Marcello himself in sacrifice; for mixing with the threads of the fable the trace of a mysterious documentary image; by pure conviction.
The strategy is to transform the life of the American author into a personal matter. Very personal. If the novelist narrated his own metamorphosis from the most illiterate poverty to the furiously individual glory of the lyrics and adventure, the film does the same with a character in Naples at the end of the century (19th century). The parallelism is what it is, because the victim is the same. The suicide of a London declassed with no place among his or any space next to the privileged is the same as that of any artist. And so.
As we said, just decision for a film that deserves, now and probably in the future, more .
At his side, the mention of the best director for the Israeli Nadav Lapid for 'Synonyms' or the script to Corneliu Poromboiu for 'La Gomera' seems to be appropriate and timely exercises for 'revival'. The first, which proposes an investigation of the confusion of Israel and the same director through the internal chaos of the language itself (the cinematographic and the other), was already awarded the Golden Bear in Berlin. Just remember and reprimand it. In the second case, the reference is Cannes. There you could already enjoy this sort of Romanian-Canarian 'metathriller' as delusional as bizarrely deranged. Good for both of you.
The case of the Special Jury Prize is slightly different. ' Technoboss ', from the Portuguese João Nicolau, was previously in Locarno and there he was surprised by his intelligent candor. It is a blatantly absurd musical comedy, but it is also a journey through time. The past and the digital present.
That the best actor is Pierfrancesco Faviano for everything he interprets and suffers in ' The traitor ' of Marco Bellocchio is understood as obvious (he looks 'brandonian' in the skin of the mafia of the mafia Tommaso Buscetta) and for, again , evident. It would not have been understandable that the Italian director with classic manners had been left out of the record. Not in vain, we are facing one of his most notable achievements in recent years.
And finally, Marta Nieto. His work in ' Madre ', by Rodrigo Sorogoyen, already surprised in Venice and for her it was the prize in the Orizzonti section . And what's left. Let's say that the actress gives a new meaning to the empty voice from a thinness that seems like a state of the soul. The x-ray of the pain of a mother who loses her son is that: the fog that leaves a sigh. And we already feel so much lyricism. Dazzling. The ex aequo mention with Zorica Nusheva for his work in 'God exists, his name is Petrunya', the principle of everything that will come will be craved.
That said, all charged their fair revenge in the most notable of the Spanish festivals with the permission of San Sebastian.
According to the criteria of The Trust Project
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