Cannes Day 5: A donkey leads a modest ball

On the fifth day of the Festival, all sections together, allowed a significant number of very beautiful meetings. At the beginning of the event, three works dominate, two of which we even discussed in detail here, External Night Marco Bellocchio and Brother and sister Arno Depleshen.

To this must be added this pure miracle, the true sacrifice that exists Eo Jerzy Skolimowski. But five other feature films deserve to be seen here, even too briefly, in anticipation of returning to them more fully when they come out.

“Eo”, a European odyssey

“Eo” it seems to be the equivalent of “hi-han” in English. It is also the name of a donkey who is an impressive hero of this great adventure, which is told by a new film by a Polish director.

From the circus in Wroclaw to the Italian Palace, passing through a barbaric party of football fans, an underground truck of a butcher, a stud farm where the aristocracy of horseback riding lives, or a mink farm dedicated to slaughter, Eo’s donkey will feel real today.

And, along the way, meet many specimens of humanity, often stupid and cruelly ugly – but not always.

Falls (not just from the water) are as impressive and disproportionate as the character remains on a fair and fragile scale. | Choice of ARP

When a real film director, as a director Departureof deep end and Lighthouse boatthe film “Donkey”, this can be the most exciting and impressive of the characters.

Immobile or in motion, obeying, not trembling, or reacting with radical efficiency, devoid of any superfluous, huge actor with inwardness and coherence, the hero crosses our dirty world like a famous mirror of romance. And under his feet are born terrible dramas and unexpected brilliance, strangeness and cruelty.

But the film is also, above all, an irreconcilable accusation, for which Skolimovsky mobilizes a powerful machine of denunciation: the soundtrack. Not words that are rare and often superfluous or funny, but noise.

We may never have to deal with such a formed, so anxious, so fierce against the state of the world through the use of the sounds of the world, the sounds of people, and the sounds of cars and the sounds of trees. ., winds, animals.

A romantic character in itself, the donkey is neither a metaphor nor a story. No one speaks for him, the director no more than others, and no one speaks. The donkey exists as a donkey, and, existing, it brings out under the hooves the state of our reality. It’s not very beautiful, but it’s moving – even if it’s very funny.

Three beauties on the fortnight: “L’Envol”, “Les Harkis”, “Un beau matin”

No matter how different they are from each other, the three films presented for two weeks by the directors, three very remarkable cinematic successes, have a common tone sotto vocea way to tell one or more stories, but without adding to them, without looking for fictional intensifiers that are so common in movies than chemical fertilizers are for agriculture.

At the beginning of this section, Flightthe first French film by Italian Pietro Marcello, which has already distinguished itself with three unforgettable films (La Bocca del Lupo, Bella lost, Martin Eden) – a story that unfolds in the countryside of Normandy in the interwar period.

Juliet Juan plays a young woman who invents her freedom Flight Pietro Marcello. | Pact

In this story there are chronicles and tales about a soldier who returned from the front, adopting, perhaps, his little girl and magically processing firewood, next to a peasant woman who hated peasants.

The main thing here is not in the multiple adventures of this story, full of witches, injustices, miracles, male violence, and not in the power of what is happening today, at the moment of each frame.

At stake here is the touching evidence of the physical presence of bodies – faces, skin, voices. Rafael Thierry, Noemi Lvivsky and Juliet Juan, like all supporting roles, are strikingly intense.

Countless treasures of imagination, worries, rebellion are activated. It is the attention to creatures and the confirmation of confidence in the richness of what they hide, provided we know how to shoot them (like the donkey Eo), which is actually a great call for a better population of the world.

Recent events, Kharkiv Philip Focona tells him what his name says. In doing so, he undertakes this bloody task of what some call the “honor of France”: leaving it by the government and his army to those who fought with them against the Algerian liberation forces.

Mohamed El Amin Muffok and Theo Cholby c Kharkiv from Philip Focon. | Distribution pyramid

Focon does not add romance, psychological techniques or sociological techniques. With an impressive economy of narrative, but great attention to the characters and situations, he accompanies situations where Algerians joined the French army for various reasons and what happened to them.

The film of the director named after Treason and with Fatima only stronger in its path to finally shed light on this tragedy, which has remained taboo for so long (even if there was already a TV movie on the subject (Kharkiv, Alena Tasma in 2006, who had the courage to oppose this issue, took place entirely in France).

This light unequivocally sheds light on where the main responsibility for what was to become the horrific massacre that followed the FLN victory lies: the imminent crime of 132 years of colonization in Algeria and the countless horrors it caused, he added. this is an additional shame.

On the other hand, it is quite modern and probably even more than his director expected Good morning. Mia Hansen-Love’s new film is directly related to the reception in nursing homes, which has become a hot topic we have known since its publication. Cemeteries from Victor Castane.

Father and daughter (Pascal Gregory and Lea Seydou) c Good morning. | Diamond movies

So Good morning it is not a thesis film, the theme is in no way out of the question, and the career of Sandra’s father, the heroine played by Lea Seydou, is perfect again, in several places where people in addictive situations are received, both frank and nuanced.

Suffering from an early form of mental degeneration, the recently retired professor, in Pascal Gregory’s excellent interpretation, thus activates a number of situations that are far from his own.

The restrained and very touching beauty of the film is to follow a few threads, the very fabric of emotional and emotional everyday life, which is simultaneously destroyed by the birth of great love and the rupture of incomprehensible and sinister collapse.

The passion that embraces Sandra and Clement and the twists and turns of their emotional and marital situations, as well as the relationship with the young woman’s father and her daughter – and yet with other members of her family, and with books, learning, language , to the city, to what makes the very depths of existence – give this extremely delicate film an infinitely unexpected vibration.

We also find there, so far removed from his role in Depleshen, Melville Pupo, fragile and firm, with unbridled and warm precision.

Trance and maze: “Goutte d’or” and “Yamabuki”

Seven years after the formidable Neither heaven nor earth, Critics’ Week presents Clement Cogitore’s second feature film. Meanwhile, he continued to strengthen his place as a contemporary artist of the first magnitude, in particular through multimedia documentaries braguino and spectacular staging gallant indie krump version at the Paris Opera.

Ramses (Karim Leklu), manipulator and manipulator, c A drop of gold Clement Cogitore. | Diaphana is an actor

WITH A drop of goldCogitore explores the many sources of a network of forces, beliefs and interactions centered around Barbes-Rochshuar in Paris.

Trade, fraud, solidarity, violence, and relationships with various forms of the supernatural, including capitalism, are not the last sorcery, turn into a vigorous non-Cartesian whirlwind of divination by the fortune-teller Karim Leklu, who has finally found a role. worthy of it.

A drop of gold Is a dark study of space, where people and groups, buildings and attachments (origins, practices, generations) are seen as a single living matter, complex, dangerous and tender at the same time.

What is active there comes from opaque forces, whose vital and sometimes fatal effects the film observes, without claiming to clarify them, much less simplify them. Under the subtle description of the sociology of the big cities of Western Europe is a very good bet on the virtues of the mysteries of existence and how cinema helps to live with them.

Another, but not so, is the proposal of a young Japanese director Juichiro Yamasaki, Yamabuki presented by ACID. The second feature from the author The sound of light is located in a small mining town. Its name is both the name of a modest flower with random blooms and the name of a teenager who does not feel well.

Yamabuki Juichiro Yamaski, on the way to several destinations. | Survival

The film unfolds several fragments of stories, all the tension, fueled by details and minimal bias, stories that seem to converge to a common story, even a common solution of what will not happen.

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And it is this fragmentary side that becomes the most expensive in the circulation between the figures, which are at the same time cute and imperfect, giving way to tragic, comic, comic-tragic twists, but between which there is space for each viewer. accommodation, possible schemes for operation.

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