Atlantique Beanpole Eléa Gobbé-Mévellec Kantemir Balagov Ken Loach Les Hirondelles de Kaboul Mati Diop Sorry we missed you Yasmina Khadra Zabou Breitman

[Cannes 2019] Day 3: The paradox of Cannes

FDC 2019_SIGNATURES_400X400_03The paradox of the Cannes Movie Pageant, is to take care of each night, with its prestigious “Montées des Marches”, the image of an event all in luxurious and glitter, reserved for an elite, whereas proposing works politically engaged, quite left, which expose the troublesome day by day life of characters from probably the most disadvantaged social courses. Perhaps it is this distinction between the spectators, dressed of their tuxedos and their gala clothes and clothes sparkling with a thousand lights, and the proletarians who, on the display, wrestle to make ends meet, to provoke the shock of consciousness hoped by the filmmakers. This has all the time succeeded in Ken Loach, a pacesetter in British social cinema, and particularly three years in the past, since his self, Daniel Blake, portrait of a modest employee discovering for the first time the Kafkaesque system of insurance. English unemployment, had earned him a second Palme d'Or.

Perhaps he can move the three move with Sorry we missed you, his new function film, which is in the identical vein. This time, the English filmmaker denounces the uberization of work, this new financial system based mostly on franchises, which inspires staff to adopt a standing of self-entrepreneur, seemingly free from all constraints, to raised enslave them and make them workable to thanks. He follows the descent into hell of a worker who, to offer his household a greater dwelling surroundings, decides to turn into a deliveryman, on his personal account, however in the service of a large categorical transport group. On paper, the thought was engaging, since this job was more likely to permit him to work at his own tempo and, probably, by way of a bonus system, to earn lots of money within the medium time period, no boss on the again. However very quickly, he realizes that working circumstances are removed from idyllic. The quantity of deliveries to be insured is necessary and includes working properly beyond the standard working hours, mobilizing the night and even the weekend. In change, there will not be really any benefits. The transport company is even very restrictive, imposing heavy penalties in case of delay, absence or loss of the goods. The unlucky delivery man has no selection however to work more durable to get out of this downward spiral, on the danger of jeopardizing his health, his couple and the stability of his household.
The detractors of the English filmmaker will in all probability reproach him for not renewing himself, however on the similar time, it have to be admitted that he excels in this type of social cinema, and that he points higher than anyone the issues of the ultra-liberal economic system.

Ken Loach would in all probability not have denied the introductory scene of Atlantic, the Franco-Senegalese filmmaker Mati Diop, which exhibits the workers of a development website, within the suburbs of Dakar, rebelling towards their unscrupulous employer, who has simply ” did not pay their salaries for three months. Lacking money, a dozen of them determined to hitch Europe along the Atlantic coast aboard a simple canoe. In fact, like many attempts by migrants to cross, the journey ends badly. Their boat is shortly found at sea, empty of any occupant. However the story, which shortly abandons social realism for a implausible fable full of grace and poetry, is much less fascinated about them than Ada, a young lady upset by their disappearance. Among the many members of the expedition was Suleiman, his great Love. She was counting on him to grab her from a future totally planned by her household, with an organized marriage program, a couple of years to provide youngsters to her husband, and the remaining of her life to reside within the shadow of a household. second or third wife. She must now assume alone her decisions, take control of her destiny and reside free.

There was also speak of freedom and the standing of ladies within the Un Sure Regard part.
Already in Les Hirondelles de Kaboul, directed by Zabou Breitman and Eléa Gobbé-Mévellec. That is the difference of the eponymous novel by Yasmina Khadra, which speaks of the problem of being a lady beneath the Taliban's liberticidal regime, in Afghanistan in the 2000s, by means of the cross paths of 4 characters. Mohsen and Zunaira have been a pair since they first met on university benches earlier than the faculties have been shut down by the authorities. The young lady tries to fiercely defend her freedom, listening to Western music and sporting white footwear underneath her burka, even to impress fanatics on the danger of her life. Mohsen, however, is about to resign himself, out of worry or perhaps fascination for the facility that spiritual authorities bestow on men. In the future, he falls, collaborating spontaneously in a stoning.
Atiq, he is additionally about to crack, but in the other way. This former mujahideen has all the time defended the spiritual values ​​advocated by the mullahs. Reconverted as a jail guard, he supervises ladies sentenced to dying and accomplishes without any qualms his work of executioner. But when he learns that his wife Mussarat is herself condemned by a terminal most cancers, and that her pals advise her to repudiate her to take a youthful spouse, he cannot resolve it and begins to query himself. about how ladies are treated in the country. Their destinies will end up being sure, inevitably in a fatal means.
By taking benefit of the animated film with the old style animation, the two administrators permit poetry and sweetness to ask themselves into a completely sordid melodramatic narrative. They intend to spotlight what is most lovely and purest on this poignant tragedy: the likelihood of change, hope, rejection of barbarism and fanaticism. Nevertheless, they do not elude the truth of evil. The similar comics, some scenes are troublesome to sustain, such as the stoning Mohsen participated in, the abstract executions or the humiliation of Zunaira, pressured to face within the sun, suffocating underneath his burqa.
Troublesome to not be moved by the pressure of this story, particularly because the characters are embodied wonderfully by a gorgeous quartet of actors: Hiam Abbass, Zita Hanrot, Simon Abkarian and Swann Arlaud. Notice that, in contrast to basic animated films, the place the actors double the characters as soon as the animation finished, they performed the text within the studio, in entrance of a digital camera, then the animation was constructed from these photographs. view. Which explains why the characters have the bodily traits of those that embody them. It’s undoubtedly excellent work.

Other occasions, different circumstances, however an equally difficult existence for Kantemir Balagov's two important female Beanpole characters. Iya (Viktoria Miroshnichenko) and Masha (Vasilisa Perelygina) met on the entrance. When Iya was injured, she was transferred to Leningrad, the place she took care of the various wounded troopers in the course of the siege of the town. Once the conflict is over, the nurse tries to rebuild her life together with her little boy, with whom she lives in an enormous collective house, however she suffers from frequent paralysis crises that handicap her and endanger the little boy. When Masha returns from the front, the story takes a special flip. We perceive that the two ladies are united by heavy secrets and techniques, but in addition by a standard tragedy. Their cohabitation is troublesome, especially when Masha decides to invite his new boyfriend, Sacha, to reside with them within the condo. Progressively, the masks fall, revealing all the trials that the two ladies faced through the warfare, and what ambiguous links unite them.
Regardless of the sluggish pace of the story, we comply with with fascination this ample and sophisticated narrative, carried by the sensible interpretation of the 2 fundamental actresses and the exceptional staging of Kantemir Balagov, who, much more than Testnota, his first function movie , assumes the affect of Ingmar Bergman. The troubled relationship between the 2 characters, between love and hate, evokes a lot Silence or Persona. Furthermore, one can very nicely think about, as in Bergman's masterpiece, that the 2 ladies are only the two sides of one and the identical psyche, having shattered after having been confronted with the horrors of struggle. In any case, their personalities are complementary. They symbolize the physical and psychological struggling of a country in shock, struggling to get well from years of deprivation, frustration and terror, but on the verge of one other ordeal.
Given the inventive qualities deployed, Beanpole would have fairly had its place in official competition, and there’s no doubt that the filmmaker, protected by Alexander Sokurov, will in the future have an opportunity in the nice tub of the Cannes selection.

But the breeders most popular to offer somewhat glamor, glitz and eccentric pop to the spectators of the gala night at the Grand Théâtre Lumière. They gave the festivalgoers a musical break with Rocketman, Elton John's biopic, directed by Dexter Fletcher. In view of the first reactions, the choice was guided more by the presence of the British popstar on the Marches, just to affect the gang and put again in trend the pink heart-shaped glasses, that by the inventive qualities of the 'paintings.
But again, this is the paradox of the Cannes Movie Pageant, which promotes the work of probably the most cutting-edge and demanding filmmakers each day, while on the similar time offering most of the people the chance to see well-liked stars.
It takes all tastes.

See you tomorrow for the remaining of these chronicles of Cannes.