Movie theater
Rifkin's Festival
two
Genre:
Comedy
It's tough being Woody Allen from morning until late at night.
It's many hours of intelligent pessimism, self-imposed bitterness, and exhibitionism of sadness.
And so, day after day, year after year, movie after movie (and it's 49).
Let
's
say that
Rifkin's Festival
is on the side of 'after another', on the other side, the almost unconscious Allen.
Also Allen, like Netflix, has learned that it is not necessary to overturn in each production.
From time to time, and after reaching a certain age, it is convenient to make the algorithm work.
The pattern, with increasingly rare variations, is known:
a man doubts himself convinced that life is denying him something.
And so on until he realizes that the problem is not the disgusting food they serve in this so-called existence;
The problem is that the portions, despite everything, are terribly scarce.
The joke is old, but it's still there.
From start to finish, the feature film behaves like a scream that suddenly ends in a yawn.
Yes, the most eloquent gestures of its director are recognized, but as in the distance, in slow motion, as if a confused imitator of Allen had decided to finish each of the sentences that the original, probably out of laziness, leaves in suspense.
The problem is when the viewer realizes that perhaps the imitator is himself, the viewer himself.
Everything is so familiar that
it seems impossible not to find within the director's filmography 'another' more eloquent and brilliant scene capable of replacing every second
of what is being seen.
the director chooses not to complicate his life and re-shoots the usual
The film tells of a couple's trip to the San Sebastian Festival.
She (Gina Gershon) is representative of, in this case, a genuinely and brilliantly jerk director (Louis Garrel in a frightening exercise of himself).
He (Wallace Shawn) is
a writer hell-bent on writing the masterpiece that he will never even be able to imagine.
He is also a movie buff, apprehensive, a stammering speaker,
and therefore his responsibility is to act as the director's own 'alter ego'.
Along the way, the latter will be dazzled by the beauty, poise and Spanish accent of her doctor (Elena Anaya), who cannot help but be fatally in love with an artist (a delirious Sergi López) as inconstant as she is chaotic.
Simpler, a Woody Allen movie.
And period.
Let's say that
the director chooses not to complicate his life and re-shoots the usual
in a setting that would seem identical to the usual one.
Allen, indeed, is a tireless worker of his own laziness.
The film's greatest achievement (aside from the local stamps signed by Vittorio Storaro) is also its worst sin.
At times, the narration is interrupted to recreate the dreams of eternal movies.
And out there appear
Citizen Kane
,
Persona
,
The Exterminating Angel
or, of course and instead of honor,
The Seventh Seal
with Christoph Waltz in the role of Death.
Welles, Buñuel, Begman or Fellini are among parodies and honored in a resource that seems both charming and terribly pedestrian.
And tiring.
It is exhausting to see Allen's degree of exhaustion.
From him or his algorithm, it doesn't matter.
+ We will not say that each of the classic film recreations are brilliant, but they are very entertaining- The level of complacency of a director who already confuses cinema with tourism without embarrassment is worrying
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