• Criticism Claudia Llosa turns 'Rescue Distance' into a sleepwalking and magnetic fable about all the fears of the world

  • Criticism Zhang Yimou and the dignity of the corny inaugurate a decisive San Sebastian Festival

  • Criticism The broken classicism of Laurent Cantet and a surprise called Tea Lindeburg against the ravages of heteropatriarchy

  • Criticism 'Maixabel' moves from the crude simplicity

  • Criticism Jonás Trueba and Paco Plaza, two overwhelming ways to surprise and scare

  • Critic And an imperial Jessica Chastain buckled the best San Sebastian Festival in decades

  • Interview Jessica Chastain: "Everything is based on making women desirable ... enough to commodify women"

Film festivals have changed. Or they start to. In July, the second Palme d'Or was awarded to a woman,

Julia Ducournau,

in the 74 editions that the Cannes Festival has accumulated. A couple of months later, it was Venice that gave its top prize to

Audrey Diwan

, the sixth to obtain such recognition out of a total of 78 calls. Well, yesterday San Sebastián did the same and for the second consecutive year after the success last year of

Beginning

, by

Dea Kulumbegashvili, it

left the Golden Shell in the hands of the debutant

Alina Grigore

. And so she became the

fifth woman of 69 editions.

Hurtful and even embarrassing numbers aside, the truth is that the decision of a jury chaired precisely by the Georgian Kulumbegashvili deserves at least

the privilege of both coherence and clarity.

Radicality even. The new

Blue Moon

Golden Shell

is a film built from discomfort, from denunciation and from the certainty that cinema is also a tool for shock.

Cinema-fist called him Eisenstein.

The film tells the equinoctial adventure of a condemned woman. Actress

Ioana Chitu plays

a student

hell-

bent on fleeing her town to the capital, Bucharest. His family objects. And condemns it. On this budget, the director composes a very shady recital about the degradation to which all monsters are summoned: from rape to mistreatment to something similar to incest.

The idea is to turn the surface of the screen into the closest thing to a nightmare.

In that or in a natural disaster in which, definitely, we all fit. It is not so much a psychological portrait as an apocalyptic journey into the depths of fury. And it is there, in rage, where the jury has wanted to condense a good part of the best that has been seen in a Festival that seems to be situated at a point of no return. Like everyone, probably.

The rest of the track record follows the opinion of the somewhat surprising (but not unfair) jackpot. The Jury Prize was undoubtedly the greatest moviegoer gift of this edition.

Earwig

, by the French

Lucile Hadzihalilovic,

continues the exploration work of his previous works. It is a cinema that seeks its own language through enigma, suggestion and doubt. About a Brian Catling novel about a girl with ice teeth, the director composes

an abstract fairy tale, sleepwalking and at the same time sensory,

where the geometry of eternal forms mixes with the salty taste of blood. A miracle.

The designated director was the Danish

Tea Lindeburg

for

As in Heaven

and little or nothing to reproach. The film with a

Dreyerian

aroma

(due to its negative reading of the classic

Ordet

) wants to be a reconstruction of a period (we are in the 19th century) of a timeless question: the odyssey of a woman who sees how in a single day her life vanishes by the rigor of the unappealable. The death of her mother in the birth of a new brother, suddenly leaves her in front of the house and, this is what counts, without any of her imagined futures.

The acting awards, which for the first time were not for actor and actress separately but for protagonist and cast, also had, like everything else,

a marked accent for change or, as it were, anti-heteropatriarchy.

The young protagonist of

As in Heaven

,

Flora Ofelia Hofmann Lindahla

, and

Jessica Chastain

for their brutal and inordinate effort in

The Eyes of Tammy Faye,

by Michel Showalter, got their just reward.

For the end there were the mentions to the cast interpreter and the script.

And in their own way, they gained the relevance that perhaps on other occasions they do not have.

The complete cast of the perfect cartography of

all adolescents of all ages

proposed by

Who prevents it

was an enlightened award.

And

Terence Davies

, for his delicate and ironic writing of

Benediction

, got the rare honor of being the only man on a track record that would be unfair to read as mere feminist activism.

It's clarity and, hopefully, promise.

No one ever disputed the decisions of juries made up of men who ended up giving prizes to men.

Things change.

PALMARÉS SAN SEBASTIÁN FESTIVAL 2021

Golden shell.

Blue Moon

by Alina Grigore.

Special Jury Prize

.

Earwig

by Lucile Hadzihalilovic.

Address.

Tea Lindeburg by

As in Heaven.

Lead interpretation.

Ex aequo

for Flora Ofelia Hofmann Lindahla for

As in Heaven

, by Tea Lindeburg, and Jessica Chastain for

The Eyes of Tammy Faye,

by Michael Showalter.

Cast interpretation.

Candela Recio, Pablo Hoyos, Silvio Aguilar, Pablo Gavira, Claudia Navarro, Marta Casado, Rony-Michelle Pinzaru, Javier Sánchez ... All the interpreters of

Who prevents it,

by Jonás Trueba.

Screenplay.

Terence Davies for

Benediction

, by Terence Davies.

Photography.

Claire Mathon for 'Undercover', by Thierry de Peretti.

According to the criteria of The Trust Project

Know more

  • culture

ZinemaldiaSpanish cinema plays its future at the San Sebastián Film Festival

San Sebastian FestivalJessica Chastain: "Everything is based on making women desirable ... enough of commodifying women"

Venice Film FestivalJane Campion delivers a huge apology and refutation of the western: 'The power of the dog'

See links of interest

  • La Palma direct

  • Last News

  • Holidays 2021

  • Home THE WORLD TODAY

  • Chelsea - Manchester City

  • Manchester United - Aston Villa

  • Alavés - Atlético de Madrid

  • Spezia - Milan

  • Everton - Norwich City

Keywords: