Keshish is to blame for everything

Yuri Gladilshchikov - about the film "Life of Adele" and his creator

"Life of Adele" was released on Russian screens-a film-sensation, a film-provocation, unconditionally the main movie consumption of 2013

Adele Excarpuppler in the role of Adele

This picture, the Cannes jury, led by Stephen Spielberg, awarded the most prestigious European film prize - “Golden palm branch”. In fact, it is strange that we still release it-after the adoption of a non-combination law against sexual minorities. After all, the film has a lot of super -circular lesbian scenes. That and wait for trouble. However, if our Ministry of Culture decides to block the road to the triumph of the Cannes festival, it will be scolded for a long time in the eyes of the whole of Europe.

"Life of Adele" is sensational not only with frank episodes. The aesthetics of the film are revolutionary: it seems that you really observe a non -observed life. Moreover, very saturated with emotional and psychological nuances. And of course, the figure of the creator, director Abladif Keshish, a native of Tunisia, is sensational. The point is not only that it was Arab who decided to make a film about the love of two young women. The fact is that he actually became director No. 1 of French cinema today.

Career in Kino -Stew

About the fact that France is now in many ways an Arabic country is known to everyone. The last triumph of the French football team fell at a time when there were almost no purebred Frenchmen there, and Zinedine Zidan, who was born, was born in Marseille, but in the Kabal family, immigrants from Algeria. But in the cinema of France, the Arabs still played a marginal role. One of the most famous French movie Arabings is Nasseri themselves, a star of the comedy-combat movie series "Taxi".

After all, the cinema is generally a nationwide French treasure - how we (according to Teleereklam) Gazprom. The French brothers Lumier invented, if not cinema (in parallel invented it in different countries of the world), then a public movie show. The French turned cinema and film aesthetics with their "new wave". The French gave the world almost the most beautiful movie stars: Gabena, Jeanne Moro, Delona, ​​Belmondo, Denev, Jupper, etc. In any subjective list of the hundred best directors of all time (if only these lists are not in Hollywood) there will be a lot of French names.

It was simply impossible to imagine that it was Arab that the banner of French cinema would become a banner of French cinema. Moreover, Abladetif Keshish, who will turn 53 on December 7, remained unknown until the age of 40, when he finally managed to remove the debut painting “Voltaire’s fault”. From the age of six he lived in Nice, where his parents emigrated from Tunisia. At eighteen, he carried out the first theatrical production. He is angry when he is told that he is an Arab director, answering: "I am a French director!"

Abladith Keshish and actress Adele exarpolos (left) and Lea Seyu with a “gold palm branch”. Cannes, May 26, 2013

However, in the film director, with all the attempts, he could not break through for a long time. But having broken off, for the incomplete thirteen years of the third millennium, both formally, and informally became what we said: the Zidan of the latest French cinema.

Formally - because he has a lot of the most important awards for France. The films “Epeaking” and “Cusus and Barabulka” brought him “Cesars” (French “Oscars”) in the main nominations: for the best film, directing and script. Having received a “gold palm branch” for “Adele’s life”, it became only the third of the living French directors, awarded the main award of the Cannes festival (which the French is extremely rare) - after Claude Lelusha and Laran Kanta. True, you can also calculate the Roman Polansky working in France.

Informally, Keshisha has long been called the first talent of French cinema, the most relevant director of the country, and the influence of his “Adele’s life” on the cinema of the 2010s liken that Lars von Trier has the explosive effect that he had on the development of the films of the 1990s and the early 2000s. It is common that the “life of Adele” is the long -awaited business card of the cinematic decade.

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Keshish achieved life due to the fact that the actress was forced to repeat the main scenes of fifty times

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Who, in fact, is this Adele?

It's time to talk about the film. Is he really unusual? The author, perhaps, has a more critical view of “Adele” than colleagues, most of whom are absolutely delighted with the film.

Of course, this is a sensation film. It is interesting that he intersected on the topic with another French picture from the competitive program - the tape of Francois Ozon “Young and Beautiful” (she went to our rental at the end of August). In both films, a 17-year-old girl, feeling the calls of sensuality, is given to the first sexual experiments. In both cases, it is disappointed with the first communication with the boy. In both, he enters such a jungle of bed experiments that in a word cannot be described.

But the most interesting thing is that Ozone, who was never afraid and was not shy, was simply a highly moraine boy compared to Keshish. He demonstrates the female body in all details, and the first experience of the girl with the boy and the first experience of the girl with the girl (the episode lasts a minute, probably ten) serves so that it is almost porn.

In short, after the first viewing, your humble servant decided that the praise of the "life of Adele" was slightly excessive and conjunctural. For Cannes with his crisis, the former branded directorial establishment, the former recognized generals (who simply old), it is important to create new leadership directors for themselves. It is strange that in Cannes they did not pay attention to Keshisha before. But well done, that they finally appreciated him. Of course, it was Keshish’s film that was the most radical in Cannes 2013.

But it seemed that it was still too long-three hours! And besides, he is not quite honest. A familiar journalist with Radio France International, our compatriot, who is very authoritative in France (we watched the film together on the second day of official views), considered that the success of the film in the French press is largely due to the recent violent Parisian conflicts after the legalization of same -sex marriages. It is clear that film critics, as in many countries, are primarily left -wing beliefs. Supporting the right to anyone for free existence. A journalist with Radio France International - also left convictions and went to demonstration for the right to same -sex marriages. But at the same time, she noticed that all frank sex between women was removed from the position of a man, just like in soft porn. Keshish, according to her, does not understand how female sensuality manifests itself in such situations - it follows male standards.

17-year-old heroine with enthusiasm is given to the first sexual experiments

By the way, it is worth mentioning that in the French press, too, criticism of Keshish arose. Not a film, but methods of its work. There were publications that Keshish on the set is a sadist in relation to the actors. That we mentioned the life of us achieved due to the fact that he forced the main actresses to repeat the main scenes (including bedding) fifty times - and then six installations looked through kilometers of the captured material and selected the most living pieces.

True, these accusations are contrary to the behavior of the two main actresses from the film - the debutant Adele Excarnopupulos (she is in the film Adele) and the famous representative of the loud production of Lea Seydu (it is even strange that she agreed to the risky role of Adele's mistress). During the ceremony of awarding Cannes awards, they did not look at Keshisha Bukok. They rejoiced at the success of their director to madness: they sobbed, hugged, kissed him and each other. However, they probably rejoiced also because Spielberg, for the first time being the head of the Cannes jury, violated one of the Cannes. Contrary to the tradition, he awarded the “gold palm branch” not only to the director, but also to both performers of the main roles (for courage), which is logical, but confuses the cinema systems. Now, it turns out that Tarantino, for example, is the owner of Palm d'or, and Seydu with an exarkopolos.

Having awarded the Life of Adele, Spielberg decided as Cannes wanted, leaving France to deal with its problems

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By the way, about Spielberg

The logic of Spielberg, in the case of awarding the "life of Adele", should be evaluated separately. Before the announcement of the verdict of the Cannes jury-2013, the journalists wondered: would Spielberg Palm Palm Keshisha, who could not defeat all the layers, or still will not risk maintaining radical work with frank lesbian scenes? Having thought after the presentation of the prizes, I cannot but admit: Spielberg proved himself to be a true Hollywood sage and a master of reasonable decisions. He deftly dealt with the situation around the "life of Adele". This film, for one story about which in today's Russia, can, if they want to bring to justice, Spielberg, in theory, was also not close. But left France was ill for him, the ideology of which is shared by the Cannes Festival (despite the businessness and evening tuxedos, it is not bourgeois, as some people think. He is left -handed in thinking and tastes). But Spielberg - this, of course, is subjective speculation - realized that he should not climb with his charter in a foreign monastery. If the "life of Adele" did not receive the main prize, everyone would say: this Spielberg influenced. This is he, a bastard, pressed on everyone. After all, Cannes were clearly ill for the "life of Adele." It would turn out that he intervenes in the internal affairs of French society.

But having awarded the life of Adele, Spielberg showed that he decided as Cannes wanted. He left France to deal with internal problems itself. As sports commentators are expressed, he played according to the situation. In the account. And then he stated that he seemed to vote against. That is not cowardice, but also politics. How he voted there, unknown, but he also did not quarrel with the conservative part of American investors and the public.

Adele - and then what?

But, of course, the further, the more you understand that this picture is not at all about lesbian relationships. And not only about love. She, for example, about growing up, including creative. It is very difficult to overcome the irreconcilable social boundaries that even in liberal France, even passionately loving each other. The main reason for the separation of the heroines of the film is their belonging to different classes. The eldest, the artist, who partially seduced the younger and seemed to never hide her sexual addictions from the world, is ultimately more dependent on external judgments, more cowardly. The youngest, whom the upbringing and parents forced to lurk, is ultimately more free and bold.

“Racism, sexism and xenophobia today is almost stronger than in the century before last: we have experienced a decade of intolerance. From open stands there are such speeches that it becomes uneasy. And we are not talking about random non -prospective statements, but about intentional speculations on the lowest feelings. Despite the fact that now it is worse to hear than in the 1930s-now we know what consequences such a rhetoric leads to, ”are the words of Keshish.

All the previous Keshish films, also socially pointed, where there are interethnic and interracial conflicts (see his “black Venus”), also always enter the highest philosophical spheres. He is too smart the director to solve only social, specifically historical problems in his films.

The phenomenon of Keshish is a sign that cinema takes care of the highest power. It seems that the next crisis began in the cinema-but from somewhere a director is, and not at all from the cinematic edges, which takes on the burden of the film disciplier of new, pretended to unknown film space.

Here is his future plan: a trilogy about the fate of Muslims in America. They talked about her at one time. Now they fell silent about her. But Keshish Hitter, like every eastern person. Perhaps he is already carrying out this project. It is absolutely impossible to predict how it will turn out. But it can be guaranteed that this will be one of the most grandiose film projects of the 21st century.

Photo: Jean-Paul Pelissier/Reuters