The impossible translation of the horror of Srebrenica

• The human voice: Almodóvar polishes his creed in a work as perfect as it is icy

The face of the terrifying changes in each face of fright.

Approaching the horror of war from the cinema necessarily requires an exercise in containment.

The less that is taught, the broader, more varied, and sadder are the possibilities of terror.

In his classic non-definition,

dared to leave the form of everything terrifying out of the picture.

"I can't even hint at what it was like, because it was a composite of everything that is impure, unwanted, abnormal and detestable."

Otherwise, horror dwells in each separate failure of each of the lives taken one by one.

So complicated, individual and non-transferable.

There is no agreement possible.

Bosnian director

has been

the matter for years.

And it does it in strictly own meat.

She is what counts.

Since he won the

in Berlin with

in 2006, each of his subsequent works have been a different way of approaching the same wound.

And it always hurts.

in your imagination is more than just an episode in your country, it is not even simply the great episode in the recent history of Bosnia, it is something infinitely more important, serious, painful and unique.

It's everything.

'Quo vadis, Aida?'

it is her last job and, in haste, her last duly heartbreaking cry on the matter.

It is also the first film in competition at the Mostra.

Zbanic now turns to the most brutal and well-known of the chapters of that infamy:

.

The director takes the point of view of a UN translator, who is also the mother of two children.

The idea and strategy is to stop looking at the center of all the horrors.

The protagonist, a powerful

candidate for the performance award, is right in the middle.

From her status as a protected civil servant and exposed head of the family, she hears everything, sees everything, keeps everything silent.

The director saves the viewer shortcuts.

From the distance that time gives and even the peace already achieved, the audience is invited to do the same as the protagonist: to be an exceptional witness.

The film unceremoniously indulges in that which so irritates immaculate lovers of subtlety.

And, contrary to what you might think, it is there, in his

and in his uncomplexed anger, where he becomes great.

There are many ways to define the horror of war in pairs, but this is not the time for literature or rhymes.

Director Nicole Garcia and actors Pierre Niney, Stacy Martin and Benoit Magimel.

Nicole Garcia and melodrama noir

At his side, the second competing film was '

', by veteran French actress and director

.

Structured in chapters, the film tells the story of an abandoned woman.

Or, from the opposite point of view, the story of a woman found.

In '

' times, everything is palindromes.

make up the pair of lovers that announces the title and it is the story of loss and reunion that occupies all the footage.

is the figure that first appears as a savior and then as an obstacle.

If it is read twice it is understood.

The director manages to dress up as a '

' duly '

' which in reality is just melodrama of the privileged rich and the evicted poor.

Garcia moderates the gesture with respect to previous works as strident as slightly hysterical.

And here both

' and

'

are worth both

.

Now everything runs along the paths of a passion that does not cease according to the ancient pattern of the inevitable.

Each of the characters energetically embodies their own most intimate obsession.

.

Pity about that rugged ending closer to simple miscalculation and very close, again, to horror.

Always the horror.

According to the criteria of The Trust Project

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