Ravishing Guadagnino against fascism of beauty and great Matt Dillon against forgetfulness

Guadagnino is convinced that

When asked about the aestheticization of the image, he stops the gesture, slightly lulls his voice and declares himself violently against it.

Not everything, but almost.

"Cinema and beauty are not good companions. Moreover, they are opposed. Cinema has to do with the possibility of knowledge. We live enslaved by beautiful images, supposedly beautiful ... Beauty as it is marketed today is a instrument of oppression. When I hear of absolute beauty or 'great beauty' the Nazi films of Leni Riefenstahl come to mind ...

It is fascist ".

And having said that, Guadagnino breathes happily at the sure astonished face of the interlocutor.

Suddenly, the San Sebastián Festival decided to make room for the director of '

' who is also president of the jury.

And he did it in a big way.

It seems strange that between '

' and '

', that's the name of the Italian series, so far this festival has been projected more hours of television (eight on one side and as many on the other) than from cinema if we limit ourselves to the official competition section.

Is it true that

could be seen

, by the Japanese

and the remarkable and surprising debut as a documentary filmmaker (as a fiction director he premiered in 2002 with

by actor Matt Dillon and which goes by the name of '

'.

But their presentations with their respective photos, press conferences and misplaced statements were moved to the next day, Tuesday.

Anyway, the most remarkable thing about

' is that it doesn't seem like a series.

That is, despite being structured in episodes, airing on HBO and obeying a style book carved in marble,

to follow.

It is not so much a nineteenth-century

, as, let's put it that way, a post-

What matters is not so much the central text as the countless footnotes that flood the margins.

In fact, for much of the footage, the sensation faced by the viewer is that of attending a ritual (perhaps coven) with the space of representation displaced.

In the strange and anomalous space of a North American military base in Italy, a young man and a young woman play fetch.

Not so much between them, as inside.

Sexual identity, the celebration of anger, the pleasure of chaos and the evidence of hormones are the only arguments in a production that plays to be confused with what is narrated.

Also

is lost, doubts, interrogated and finally offered to the viewer as a

This was.

Fellove and Matt Dillon in a picture from 'The Great Fellove'.

In the first two chapters, the same story is told from two points of view, his and hers;

a perfect introduction to everything that will come next.

Of course, what Guadagnino proposes is quite similar to a serial or twelve-tone film essay pending exclusively on the gesture.

And so on even the most exhaustive and exhausting of exhaustion.

It overwhelms and excites in equal parts.

The broken and always vibrating approach to the portrayed object is undoubtedly appreciated.

Guadagnino's camera, far from the preciousness of much of his previous works, wants to cast off the almost amoral virtuosity of the simply beautiful.

The idea is to offer a raw image of adolescence while discussing the repetition codes that make up a large part of the series.

We have arrived.

MATT DILLON MUSICIAN DISCOVERER

For the rest, while waiting for his walk on the Kursaal carpet,

of Cuban music in which he has supposedly been muddy for a whole life.

Suddenly, Francisco Fellove Valdez, a scat singer, is that man that everyone, educated or less, cannot help but adore.

Although I don't know yet.

Well, that's where 'El Gran Fellove' goes, that's what it's called.

The film, as instructive

(whatever the preceding kitsch may mean), reviews the life of the man who at the age of 16 composed '

', a commonplace in Latin jazz.

Fellove became an almost avant-garde star as admired by his colleagues as loved by the public.

And so on until he disappeared and was

by, in effect, Matt Dillon.

The film is structured around the recording of a new yet unreleased album (it will be released, it is said at the end, in 2021).

and a young generation of contemporary musicians surround and shelter the legend who strives to revive his glories.

And on this stage set more or less in the present,

' covers a lifetime with testimonies from old colleagues like Chucho Valdez, Dandy Beltrán or his 'enemy' and rival Melón;

priceless archival images, and

and remedy so much emptiness.

Far from the gravity of

by Wim Wenders, Matt Dillon's proposal, supported by the master hand of his editor Jason Cacioppo, looks more like

and the hero is simply the best dancer.

That or a period melodrama in which the gallant is the one who knows the love songs.

That or a movie of a thousand tiny catastrophes.

On Tuesday Dillon himself explains everything right here.

According to the criteria of The Trust Project

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