How to weigh talent?
The soul, Iñárritu maintains, marks 21 grams on the scale.
That is the weight, say the credulous, that leaves the body just in time to die.
I mean, that would be the value of life.
But, how to measure even more delicate and precise matters such as, for example, creative capacity?
And without having to kill the artist, of course.
Venice has had its own method for eight years.
It's called
Bienalle College
and what it does, basically, is select 4 projects from an infinity and give each one 150,000 euros, a series of tutorials and a deadline to meet: from December to September the festival begins.
It is difficult to know the exact weight, but here what counts is that
the faithful of the scale moves.
In the case of
'The art of returning'
it moves.
In his modesty, Pedro Collantes manages to sink his hands into something that could be called
the density of time.
Linked to her traveling biography (she confesses that she has passed through Norway, Holland and Japan before returning to Spain), the director tells the story of a woman who returns home after a season of flight and work in New York.
What she discovers in Madrid is her, and yet it no longer belongs to her.
Everything has changed and each element of life that he left behind, big or small, already means something else.
Bright, precise, warm and paused, not paused.
In this way, the film starring
Macarena García
with her also a heavy authority becomes a pioneer.
It is the first time that a work signed by a Spaniard enters this laboratory.
Eight years ago it has functioned as a perfect platform from which to see and be seen.
And, attentive, Collantes can boast of having shared with Almodóvar, who was before him at the COVID Festival, and with De la Iglesia, who will come later,
the privilege of talent.
It is so.
The director says that the film becomes strong in the concept of "
synchronicity
", which is what is sought when suddenly one has to re-signify everything that was his and now, perhaps, it is no longer.
And here, as so many times, the parallels with the present body pandemic emerge spontaneously.
The film was hung two days after the completion of the filming and during the confinement period Collantes had to manage for the editing.
And suddenly, '
The art of returning
' also emerges resignified and pending synchronization in these times of pandemic.
Consciously or less, the film also talks about what happens to all of us right now
in this forced exercise of making sense of almost everything again.
Of that and of rescuing the sense of what he lost.
And so.
I said, weigh weighs.
A moment from 'Notturno', by Gianfranco Rosi.
the madness of reality
With regard to the competitive official section, where the talent of the past is supposed, the spotlights stopped on '
Notturno
', the latest work by documentary
maker Gianfranco Rosi
, winner of the Golden Lion for
'Sacro GRA
' and the Bear of I pray for '
Fire in the sea'
.
Again, the border is the space that occupies everything.
In every sense.
If the film that he won right here in 2013 was about contemplating the limit of the city of Rome through a road with the appearance of an anaconda that swallows everything, and in Berlin in 2016 it was the Mediterranean as the limit of hope for the refugees, now it is the
Middle East
, the breaker of all civilizations, which is placed in front of the camera.
Rosi narrates again in the intermediate space,
on the border between fiction and reality,
the future of lives devastated by perennial war, the barbarism of intolerance (here, the blind brutality of ISIS) and survival as the only hope of life.
It has taken the director three years to complete a job that has spread to Lebanon, Syria, Iraq and Kurdistan.
The idea is to turn the screen not so much into a mirror as into a stage for representation.
Among the different paintings, the section dedicated to a psychiatric center stands out in which the residents there represent the story of their own tragedy.
It is a therapeutic play that is also the best definition of a vocationally nocturnal, deep and brutal movie.
Madness not only as a metaphor, but as everyone's wound;
the spectators and the contemplated.
'
Notturno
' lacks the precision of '
Sacro GRA
' and keeps a distance from the sad charm of
'Fire in the sea'
.
It is a work that is both more rigorous and profound, but much less close, warm or only human.
Rosi treats her characters as pieces in
an abstract shadow theater
.
It is devastating yes, but much more distant.
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