Everything makes sense.
Recently, the Romanian director
Radu Jude
was asked
how he imagined a world without all the miseries that he portrays in much of his cinema in general and in his latest work in particular.
His answer was a quote from
Jean Genet:
"Don't ask me what world I would like to live in. I don't want to live in a different world,
I just want to be against it
.
"
And sure
enough
, the to some extent if not entirely fair yes extremely consistent Golden Bear winner
'Bad Luck Banging or Loony Porn
' (something like 'Bad luck fucking or nutty porn') is basically a movie thrown at anyone's jaw. Romanian viewers or not so much.
Even the loudest and most obvious of technical KOs.
The jury of up to six winners in Berlin from previous editions thus decided to square a beautiful and virtuous circle.
The film composes in the form of a triptych the consequences, so to speak, of
a domestic sexual video that has suddenly gone viral.
The scene of yore (a fellatio) is seen before the credit titles and is proposed as a paradigm of the obscene.
But be careful, the truly lewd, and without being so graphic, comes later.
Therefore, to an edition that has passed entirely in a '
streaming
', which in its own way has struggled to become voracious and obscenely viral, corresponds to the film that best sums up the 71st edition of the Berlin Festival and, who knows, to all of us.
Image from 'Bad Luck Banging or Loony Porn'.
The director had previously meant himself for his precision in the portrait of what does not admit more portrait than despair and emptiness.
Films like
'I don't care if we go down in history as barbarians'
stood up like a prodigious meta-cinematic construction that uncovered every corner of a story in a crumbling phase.
Long before, '
Aferim
!'
he has already won the award for best director also in Berlin.
In '
Uppercase print'
, last year, the ability to irrigate each frame with acid came from the story of a teenager bent on writing in chalk all his rage against the Ceausescu regime.
Now, the proposal is as devastating as it is brand-free.
The three parts that compose it each follow their own grammar.
In the first, the camera accompanies the protagonist in her anguish through the streets of Bucharest.
She is pointed out with the same mercilessness as those who point.
The second act is a sketch of '
Benjaminian
'
inspiration
, composed in pieces, where the images function as a symbolic encyclopedia of our time.
For each aphorism, a stone.
Without a doubt, the most aggressively lucid part
.
In the last part, the viralized teacher, that is, appears in court.
In the second part perhaps everything is counted.
And everything destroyed.
Against.
The rest of the track record, fulfilled a good part of the good exhibited.
The Grand Jury Prize went to
Ryusuke Hamaguchi
for the other triptych seen in the competition:
'Wheel of Fortune and Fantasy'
.
The Japanese director composes with a delicacy that is also deep a dazzling description of the vertigo of the middle class, its mediocrities and its anguish.
The award for directing went to Hungarian
Dénes Nagy
for his drama in the wake of the disasters of World War II '
Natural light'.
A kind of return to the confines of
Malick's
'
The Thin Red Line
', both in form and in content as absorbing as it is consciously pressing and serious.
Maybe too much.
The actors' awards, which are not divided by gender, went to
Maren Eggert
for her work in
Maria Schrader's
' I'm Your Man '
, and the supporting award to
Lilla Kizlinger
for
' Forest - I See You Everywhere
'. by
Bence Fliegauf
.
The first is debatable because of a debatable film and the second because of the icy, lyrical and deeply dark clarity of the second.
The penultimate of the awards, the second from the jury, was for the monumental and diaphanous three-hour documentary on teaching in times of multiculturalism '
Mr Bachmann and His Class'
, by Maria Speth.
The script was for the Korean
Hong Sang-soo
for his way of 'writing' or writing without being noticed in '
Introduction
' and what is called artistic contribution to the montage of the film by Mexican
Alonso Ruizpalacios
'
A cop movie
' half fiction, half the opposite (whatever it is).
Everything almost fine.
Of course, it was missed almost as an insult to 'Petite maman', by Céline Sciamma.
Probably the best without more.
According to the criteria of The Trust Project
Know more
movie theater
Berlin Festival
culture
Berlin Film FestivalDaniel Brühl, from multilingual actor to more than brilliant language director
CineTina Turner: the sharpest pictures, loudest songs, and densest silences
The Berlinale 'online' reinvents the pandemic as a film genre
See links of interest
Holidays 2021
Zenit Saint Petersburg - Real Madrid
West Bromwich Albion - Everton
Maccabi Fox Tel Aviv - Valencia Basket
Parma - Internazionale
Levante - Athletic, live