The predictable "life of Adele"

The "golden palm branch" of the 66th Cannes Film Festival ended on Sunday "Life of Adele, the first and second" Abladetif Keshish, the author of "Cuscus and Barabulka." The jury of the festival was headed by Stephen Spielberg.

The result was predictable: there was no such universal consensus even last year about Michael Hanek's "love". “Life of Adele” likes everyone - both French criticism and the International Federation of Films (Fipers), who gave Keshish his award, and mainstream journalists. This is a very traditional cinema, the main emphasis is on the coherence of the narrative, psychological reliability and acting believability. We have been observing for several years in life Adele, who at school realizes that she prefers girls to young people and falls in love with the bluish -haired beauty (Lea Seydu). The next years is the story of this couple, which goes through all stages of relations, including the most painful. “Adele’s life” is based on erotic comics, and the director is not shy about fairly frank scenes, which, as a rule, are reported in reports from the festival.

This year in the Cannes competition - for a couple of exceptions - there were no directors who would take the courage to shoot differently, to experiment with the form. It is natural that Keshish turned out to be the best against this background - this is the film of a diligent director who shot a thousand hours of material and sometimes made a hundred duplicate. The three -hour festival version is not yet final - the film was shown without introductory and final credits, with obvious repetitions and tautologies; This, however, does not prevent him from looking alive. In a word, a good traditional movie. Of course, in France they can make quality films about everyday life; But I doubt that Adele will watch at least a couple of years later.

For me, the competition was divided into a new film by Jim Jarmush “ Only lovers will survive ” - perhaps his best picture from the time of the “dead man” - and everything else. I don’t know when it happened that the Cannes Festival from the Center for Premieres of Arts has turned into an official, protocol show, but for some reason films like the film Jarmusha are now ignored-strange, unusual, fragile, risky, broken out of any definitions. Last year, they pretended that there is no Holy Motors Leos Carax - a film that, in mood and style, reminiscent of the picture "Only lovers will survive."

Another “unnoticed” film is a grandiose “immigrant” by James Gray, the director’s first attempt to go beyond “family” topics and make not just a costume drama, but a movie about the basics of emigrant life in America, which he captured in previous four ribbons. The action of the "immigrant" takes place in 1921, the famous point of reception of foreigners on the island of Ellis hostilely meets two beigones from Poland - Eve (Marion Cototiyar) and her sister, patient with tuberculosis. Gray is not so much telling a story as it builds up a complex narrative in which the echoes of the "Diary of a rural priest" Bresson, cinematic rethinking of the opera, theatrical aesthetics and strong emotions are formed.

It is difficult for me to tell after one viewing whether the “immigrant” is Gray's best film, but if we talk about directing, then there were no equal in the program. Thoroughly built scales, where there is always a place for the second plan and volume, narrative experiments (many things were taken into ellipses that the other director had in the foreground in such a plot), outstanding work with actors - even Marion Cototiyar suddenly turned out to be amazing, not to mention Joaquin Fenix, which had long become a full -fledged co -author of Grey. However, they were not received by the acting prizes, but Berenis Bezho ("Past", Asgar Farhadi) and Bruce Durn ("Nebraska", Alexander Payne) - good artists who played in discreet paintings.

“Inside Lewin Davis,” no better and no worse than the previous works of the Cohen brothers, and the jury awarded his Grand Prix, apparently, to balance the tapes that seemed more radical to Spielberg. The Mexican Amat Escalante received the award for the best director. His "Eli"-a snuff-exploid, in which there is not a single original frame or plan-everything could be seen in festival films of recent years. The plot of the Absurden: the corrupt police officers who follow the trafficking of drugs brutally punished the family of the protagonist, and Eli himself burned genitals, and only after the murder of the rapist of his own minor sister is suddenly capable of sex with his wife. However, in Cannes, this award will be profanated for the second year - last year the best director was appointed mentor and producer Escalante Carlos Reigadas.

The prize for the script was received by Jia Zhanka's “Carling of Sin”. This film has a really complicated plan - the director is trying to give a voluminous picture of injustice in modern China, transferring us to four novels from one province to another. Jia himself, the laureate of the Venetian “Golden Leo” for the “still life”, is known for the very slow style of the narrative, but here he completely changed his method and removed almost an action movie. This is a worthy movie, albeit too simple for such a good director, but only the script itself, I believe, consisted of several pages.

Cinema Scope, editor -in -chief of Cinema Scope, Mark Perranson commented on the results of the festival: "Well, at least Sorrentino was left without awards." Indeed, the "great beauty" Paolo Sorrentino turned out to be one of the worst ribbons of the competition.

The main award of the second contest "Special View" was received by the Cambodian documentaryist Riti Paul, who shot the "missing image." For many years, Pan returns to the period of the dictatorship of Paul Pot, which has exterminated a quarter of the population of Cambodia. Among the victims are the parents of the director who spent childhood in one of the terrible labor camps. In previous ribbons, he did not talk about the atrocities of the Red Khmer, but now he decided to tell his personal story and began the film according to the fact that he was 50 years old and we need to return to the idyll of childhood and horrors that followed him. The image, the picture of that time is absent: at the floor of the sweat, there was no chronicle, the films made before it were destroyed, there were almost no material media of the memories, because the pan creates from the clay of the figures of relatives that accompany the orderly narrative.

Alas, he decided to complicate the film with a formal detachment, so he did not read the text himself, but invited the French dictator; In addition, his memories were processed by the screenwriter. Such a double distance leads away from the personal tragedy, but with regard to not personal, but the historical, “absent image” repeats what was already in the previous tapes of this director: Pol Pot, Crime, cruelty, camps, genocide, ghostly tumor.

The prize for directing in the "Special Gazing" was received by Alena Girodi's excellent picture "stranger by the lake." It is amazing that the most powerful and complex film of the festival - the North, the end of the story of Lava Diaz - was completely ignored by the jury, which was headed by the Dane Thomas Winterberg. The Lava Dias painting is intertwined and rhymes with the main through plot of the entire festival-the injustice of society and the surrounding world, which the heroes of different films try to contrast something. There is a paradoxical logic in the fact that the most unusual and talented directors of both contests in the final situation of prizes did not see this justice; Maybe this will give them the strength to fight further.