The day Nicolas Cage ate Nicolas Cage... and a pig

• Premiere Nicolas Cage's Exploding Testicles

In the book

, the last and desperate attempt to catch the uncatchable (or simply take advantage of the penultimate opportunity to monetize the phenomenon that does not end), the author Keith Phipps collects a text by Nicolas Cage -since everything is about him the volume-.

he writes.

And he continues: «I am a roller coaster that glows in the dark.

I spliced.

I want to be John Denver on acid playing the accordion.

I want to drink Jack Daniel's while I drive my Corvette through the Grand Canyon.

I am the frog you never kissed.

I am a sinner looking for a little peace.

I don't believe in God, but I'm afraid of him.

So I will pray."

No one like Cage so devoted and self-aware.

And growing.

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And yet, from time to time, the perfect mastery that Cage seems to demonstrate over every aspect of Cage means that Cage can afford to lose control in order, even for a moment, to stop being Cage and, in a game vertiginous and absurd double negative, being more Cage than ever before.

If you read it again you might understand.

There are no guarantees.

, by newcomer

and which opens next Friday, is proof of the above, and in its contained simplicity it has much of a unique show.

For any other actor it would perhaps be

the silence and the certainty of a pain (in its mute inexpressiveness) tremendous and deep.

But for Coppola's nephew standing still may be the most obscene and overreacted of moves.

Suddenly, the story of a vagabond and disillusioned chef who, in the company of a pig, dedicates his entire life to hunting truffles brings back to us the most extravagant, crazy and exotic image of Nicolas Cage, that of Cage

The director says that he was never moved by the postmodern idea, so dear to Tarantino for example, of giving back to the audience the opposite image of the most intimate expectation of him.

In

, Cage does not reproduce John Travolta's dance steps in

imagining himself the opposite of himself.

In reality, Cage takes on a role (or meta-role) in Sarnoski's film that he has only given himself to on a few occasions: that of an academically good and respectable actor.

Let's say he expands his range of sound and fury to the loudest of sounds, which, as the other Cage (John) well knew, can be silence.

Nicolas Cage in a moment of 'Pig'.

Sometime a little over a decade ago, who knows if due to debts incurred (they say he sponsored two albino cobras, had a pyramid-shaped mausoleum built, acquired one of the hundred copies of

still in existence and bought a Martian meteorite, two castles, a few jibarized heads, an island and the skull of a Tyrannosaurus stolen from the Gobi desert that he could not help but return), who knows if as an offering a perfect career in his continued imperfection or who knows If for simple coherence, the fact is that Cage has been giving himself for decades to the feast of himself and memes that he is today for perhaps a new audience.

It was then that his filmography was capable of peaks of stupidity like

, by Vic Armstrong, probably the worst movie of a long time.

And it was then that he forged his legend that equally referred to the GIF

directly extracted from

(Robert Bierman, 1989) than to «

(the bees no)» of its bizarre version from

(Neil LaBute, 2006) than to films capable of anything like

(Panos Cosmatos, 2018) and

(Richard Stanley, 2019) than tapes capable of absolutely nothing.

And here the list is lengthened by an eternal labyrinth of series B, of tapes hidden in the depths of the platforms and of Cage devouring Cage.

“I can find things in the movies that maybe other actors might not consider appropriate for their background.

That doesn't bother me, because I like to work », he says.

It is true that it was not always so.

Moreover, it was never like that.

Before

, films like the somber and sober

(David Gordon Green, 2013), the shady Bad

(Werner Herzog, 2009), the maddeningly postmodern

(Spike Jonze, 2002), the always waiting to be vindicated

( Martin Scorsese, 1998), the labyrinthine

(Brian de Palma, 1998), the more than just thrilling

(John Woo, 1997), the forever and Amaral

(Mike Figgis, 1995) , the feverish

(John Dahl, 1993), the inalienable Wild Heart (David Lynch, 1990) or the charming and stupid

(Norman Jewison, 1987) remind us that Cage was always able to refute Cage;

that Cage was as much the opposite of the

movies as he was of the noisy

like

or

in which he always sported a different, waning hairstyle.

Recently,

Sion Sono

and Tom Gormican's

In the two Cages it is a genre in itself;

Cage is an actor who tackles drama with the tools of comedy and comedy as if it were a Greek tragedy;

Cage is a lizard, a shark and a panther.

looking for truffles.

So Nicolas Kim Coppola, as he is called, is more Nicolas Kim Coppola than ever by dint of being the opposite of Nicolas Kim Coppola.

Pure Hegelian dialectics, pure Cage.

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