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"It's going to be the best movie you've ever seen."

Andrew Dominik

is Australian, but he is not modest.

He is also not one of those people who, when they agree to meet with the press, demand to talk about his book.

He talks about what they ask.

And what not, too.

At the Berlin Festival, for example, he has just presented the documentary '

This Much I Know To Be True

' (This is what I know to be true) where he exhibits, with unusual delicacy and precision, two musicians in front of their songs and, incidentally, even against themselves.

The most relevant, talkative and always present, is Nick Cave.

The other is Warren Ellis.

Nick Cave and Warren Ellis at a moment in the documentary directed by Andrew Dominik.

If in 2016 the dazzling film

'One More Time With Feeling'

(Once more with feeling), also by Dominik, served for Cave to indulge in a cathartic emptying exercise after the death of his 15-year-old son, now, another catastrophe through (the pandemic), we see the musician, but without so much cliff around.

"Nick is now a person who just goes with the flow.

He's nicer than before. More lucid. More serious. Just as hurt, but more aware that what matters is not what he feels but what those around him feel." comments Dominik to explain the echo and gravity both of his friend and collaborator and of the film itself.

This is a real gift for fans and the most beautiful introduction for Legos.

Marianne Faithfull

defiant and broken by the aftermath of the coronavirus, the tape goes up two degrees.

Or more.

Boil all of it.

Inside.

"I insist, I don't think you're going to see anything better this year," the director repeats.

It happens that, to the delight of the audience, he has changed the subject.

He is no longer in Cave but in

Ana de Armas.

He is no longer so concerned with the delicacy of a simple and prodigious staging inside a church, but with the noise surrounding his adaptation of

Joyce Carol Oates

' novel about

Marilyn Monroe.

We are talking about '

Blonde

', the penultimate great scandal (or great '

bluff

', depending on how you look at it) that post-pandemic cinema has given in times of rumours, false news and other accidents of modern life.

"The problem is the cowardice that is breathed", starts as the one who takes a run.

"Anything you can see in series like '

Euphoria

' or '

The Deuce

' is much more explicit in relation to sex. What's the point of censoring anything in a society in which song of the year talks about "wet pussies"? It's a lie, as I have read somewhere, that you see a

bloody cunnilingus

with the actress's menstruation. But yes, the film teaches what it has to teach.

Marilyn was raped or that is what is said.

Honestly, I think everything that has happened is her fault that it is about Marilyn, that she is an American icon.

It is a political problem.

With any other character we would not be talking about anything, "he adds.

Ana de Armas in 'Blonde', by Andrew Dominik.

To situate ourselves, '

Blonde

' was punished in the United States with a rating for adults only

(NC-17)

.

Which is basically as much as ostracizing her.

In the midst of the shooting, Netflix

, producer of the film with

Brad Pitt,

was accused

of playing dirty, of trying to remake the film less burdensome for their commercial interests.

"All of this is false. On the contrary, if it hadn't been for the platform, it wouldn't have been done. Nobody wanted to participate," he says.

Now, when the Cannes Festival has shown itself willing to schedule it at its next appointment in a more than interested way, the controversy returns on account of the rigors and deadlines of the exhibition in the room.

The platform agrees to release in theaters eight months before it is seen in

streaming

.

But French law, and therefore Cannes, requires that the period be 15 months.

"I can only think of saying one thing to the French Government...".

And in the ellipses, the middle finger of the right hand (or left, it doesn't matter) stands upright.

Dominik says that De Armas is the best actress he has ever worked with.

"She is capable of anything

and the effort she has made to reproduce Monroe's accent, despite not being English as her mother tongue, is incredible."

She also says that the film that has occupied her for more than six years is merciless to "American's sacred cows" and adds that she is well aware of the MeToo movement.

"Marilyn was literally butchered by the Hollywood meat grinder."

And with that said, she does not hesitate to state loud and clear, despite the obvious risk of being misunderstood, that

"Ana de Armas is the most desirable woman on the planet."

He is Australian, but without measure and without modesty.

To go back to '

This Much I Know To Be True'

, which is what has been seen so far, just to say that the director of

'The assassination of Jesse James by the coward Robert Ford'

and '

Kill Them Softly

' selects with Cave some of the songs from the albums '

Ghosteen

', from 2019, and '

Carnage

', from 2021, and elevates them to the category of dogma.

A circular traveling embraces

Robbie Ryan

's illuminated performances until they become almost sacred matter in his perfectly profane carnality.

As close to sin as glory.

Meanwhile, Cave ponders aloud in front of his collection of porcelain devils.

"I think he identifies with the fatality of a

cursed creature like the devil himself"

, says Dominik. And at this point it is no longer clear if he is referring to his friend, his actress, Marilyn or, for that matter, himself.

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