Inauguration Leos Carax dazzles and flies with 'Annette', a murky and weightless musical comedy
Jury Spike Lee laments that 30 years after 'Do what you must' "blacks are still being hunted like animals"
Previous Cannes makes a PCR to the state of world cinema
For
Spinoza
hatred is nothing more than sadness accompanied by an external cause. It sounds simple and, in reality, little else can be added.
Hatred is intentional, it needs a victim,
and, as the Jewish philosopher later adds, the hater strives to remove and destroy the thing he hates. In its own way, hatred dominated the first day of Cannes after the opening. And we refer to the sensation generated by seeing the nose free of the mask, neither the heat nor the queues for the health controls at the entrance of the passes. It is rather a matter of the plot that the three most outstanding films make their own in a clear or diffuse way.
Israeli director
Nadav Lapid says
that at a very specific moment in his life when his mother died of cancer, he thought it was necessary to end the ambivalence between love and the crudest resentment that from minute one of his filmography he has maintained with his own country.
"And in a way," he concludes, "I have opted for hatred."
His movie
'Ahed's knee'
(The knee of Ahed) was the highlight of the day in which the parallel festival the
Directors' Fortnight
was inaugurated with
Juliette Binoche
by the hand of the writer before filmmaker (in addition to the new Princess of Asturias Award)
Emmanuel Carrère
and where In the competition, alongside Lapid,
François Ozon
presented his new annual film thanks to an imperial, reborn and perfect
Sophie Marceau.
For advancing the diagnosis, nor
'
Le Quai de Ouistreham'
(whose international title is 'Between two worlds'), that of Carrère, nor '
Tout s'est bien pasé'
(Everything has gone well), that of Ozon, met expectations. The first traces the miseries of poorly paid jobs and the bad conscience it generates in the conscience of the best paid
(class hatred, perhaps)
and the second reflects on
euthanasia
which, depending on how you look at it, can be interpreted as a The result of hatred for a diminished or bad life, or as love for a life that no longer has anything to do with life, with the good life.
Ways to hate, ways to be sad.
To begin with the most anticipated, the indefatigable Carrère returned to the cinema after so many years. His previous film and debut in fiction,
'La mustache'
, dates from 2005. This time he adapts not his own text, which is what he did more than brilliantly in the other, but a
'best-seller'
signed by
Florence Aubenas
. It would seem that it is a false adaptation of others because by the argument, the form and the intention everything fits in the universe of the writer. It tells the story of a famous author (Juliette Binoche) who infiltrates the world of exploited cleaners to tell first-hand something like the truth, the beautiful and indestructible truth halfway between fiction and documentary, between the fabulation and the real, between me and us, between between and being. And so.
Doubts will soon arise.
Is writing about the suffering of others legitimate or is it by force condemned to that tourism of poverty that is so frequented by the most privileged classes in places, without going any further, such as Cannes?
Are good feelings an excuse enough to alleviate the evils of conscience? Ultimately, the question is about something as basic as the meaning and purpose of art itself. And the structure of the author's Russian dolls within the work that is told seems very much like the person in charge of
'The Adversary'
. The film starts off brilliantly, always aware of Binoche's sincere and irrefutable gesture. The very dynamics of each of the works that he describes ends up turning the protagonist's journey into
a painful anthropological ordeal
of the wounds of the system that we have given ourselves.
And so deeply unfair.
And so on until the moment of the conclusions in a second act, which is also the third and the coda.
It gives the impression that the filmmaker has succumbed to a sudden fit of laziness
and
suddenly
decided to end it all, leaving aside not only the answers but the complete formulation of the questions itself.
It is true that, for the moment, when the film is carried away by the blind mechanics of exploited lives, it surprises and even enthuses, but they are only flashes drowned in a final rhetoric too close to the most common of common places.
The Ozon tape is another matter, another hatred. On the text of
Emmanuèle Bernheim
in which the author recounted the odyssey of the voluntary death in Switzerland of her father, the French film a year presents a melodrama without tragedy, a
thriller
with a slightly comical accent, a labyrinth of pain that also it is despair. It seems that the budget of the film could not be more correct and brilliant. And even more so if the hostess is a
Marceau who, after all, never ends.
However, in its endeavor to stay out of definitions and genres, the film ends up lost in an uninterrupted succession of episodes as devoid of tension as something as basic and perhaps debatable (for groping) as empathy. Everything that happens on the screen seems as alien as it is distant. And that, given the subject, hits first and scandalizes a little later.
Although the real scandal, in the best sense, came from the hand of the Jewish director and winner of the Golden Bear in Berlin in 2019 with '
Synonyms
'.
Nadav Lapid offers his own life in sacrifice and as an argument.
It tells the story of a film director who goes to a remote town to present his film. There he faces a form of censorship that is as elaborate in form as it is unsubtle at heart. And from there, from a fact as concrete as it is personal,
the director completely challenges the state of Israel built from fear, offense and dogma (the nouns are his).
It is an angry and political provocation that is exactly as angry and political in the form of a movie.
The entire film lives locked in the faces of the protagonists in the middle of the desert.
"The story is very violent, very frontal. This state of mind has penetrated the film, the context, the images and the direction of the actors. For me, grief and personal feelings have always been associated with collective feelings.
To mourn the death of my mother also meant to mourn for my country ",
says the director and on this statement he raises a real cry of terror.
It is hate with all the letters.
And it is, from what Spinoza told us, the best representation of sadness imaginable.
And another day we talked about the masks under the nose.
Supreme hatred.
According to the criteria of The Trust Project
Know more
movie theater
culture
Exclusive preview Sergio Castellitto as Gabriele d'Annunzio in 'The Poet and the Spy'
Culture Najwa Nimri, from La casa de papel: "Clicking and reporting something does not make you a good person"
CineAriadna Gil: "Now I recognize as abuse behaviors that were normal before"
See links of interest
Last News
Holidays 2021
Home THE WORLD TODAY
Stage 11 of the Tour, live
England - Denmark, live