The favorites of the competition appeared at the Cannes Festival

The favorites of the competition appeared at the Cannes Festival

My dad is monster

The comedy drama "Tony Erdmann" Marin Ada about the confusing relations of the aging father with his adult daughter of criticism put the highest points. The simple plot. Flated on all buttons of the trouser suit, an ambitious business woman Ines-consultant to manage in oil business (real benefit Sandra Huller). Zero free time: negotiations, flights, phone calls. And the Fricice Dad Vinifred (Peter Semonishki) endlessly taking it. Imagine: “overhead” teeth, idiotic wigs, a sucker costume. This is a real invasion. He pursues, arises unexpectedly: in the negotiations, introducing himself as a businessman Tony Erdmann; She is chasing her on a business trip to Romania and there he calls himself the ambassador of Germany; Forces the daughter to sing at the party of strangers; He meets and flirts with her friends. He is incorrigible. Inexhaustible to draws. In the kaleidoscope of films about strange dads like “Schmidt” by Alexander Payne, “Kitcha” Jack Leman, and “Dad” Francis Weber, the film Ada, the craftswoman of psychological lace (her “Passion does not know the barriers” was awarded the “Berlinale” Grand Prix). It's all about the special nature of humor. A student of Cassavetis and Romer builds impossible plot constructions, moving along the edge of the comedy of the positions and drama, turning the farce genre cliches inside out, surprising, provoking the audience. At the same time, subtly motivating every risky turn. Her motto: Behind the next door is the universe! In the closest relative, it is easy to find a stranger. "Do you need to chop all these pathos topics: happiness, the meaning of life?" - The rational daughter reproaches the romantic ancestor. But it is precisely these topics, without pathetics and rhetoric will keep the spring. And all the provocations, the clown escapations of the aging daddy are just a cry: “I am!”, “I am near!”, “I am alive!”. All this carnival is a disguise of tenderness. The need to shorten the "huge distance." For Marin Ada, this is partly an autobiographical story: “You are best oriented ... in your own house. Where else are the voices of the parents. ” The topic of fathers and children has her own “angle of view”. In the matured "children", focused on their own life and career, parents with their biased care cause annoyance and irritation. (About the same insurmount of generation ruptures and the “afterword” of Khutsiev). The cinema Ade, like Khutsievsky, about the fragility of ties, alas, very temporary ... And another thought that is important to me shows in the plot. No matter how different we, different from our “ancestors”, at some point in our actions, faces, gestures, our parents germinate.

Only poets will survive

Jim Jarmush in an incomprehensible way, without any visual tricks, is bewitched by the viewer with an almost plowing and very quiet film - Paterson. The modest driver of the Paterson bus (Jarmush chooses for the main role of the famous actor with the speaker of Adam Driver) lives in the city of Paterson (a provincial city in New Jersey). Every morning he wakes up to seven, gently kisses his beautiful Iranian-American wife Laura. Eats muesli with milk. With a metal chest for lunch, a soft dawn morning goes to work. He listens on the Paterson bus on passengers. In the evening he walks with the English bulldog Marvin, be sure to look into the next bar - drink a mug of beer. He has a secret notebook where he writes his poems. About love for Laura. And about matches. Beautiful Laura dreams that the verses of her beautiful husband will certainly glorify him. Laura herself paints her clothes, curtains, and walls, and cakes with black and white patterns. And she loves a movie exclusively old, black and white. Poetry carefully and shyly makes his way to this round dance of the cute routine (as in the chest for lunch-a portrait of Dante Aligieri), and the proprietary melancholic Dzharmushevsky irony envelops you, like the morning fog of the Paterson-Diver. Jarmush has vampires - romantically dreamers, and the dead are poets. The whole film is rhymes and repetitions (even the name is similar to the sound of English Pattern - template, copying). Laura dreams that he and Paterson are twins, he meets twins every day, as well as amateur poets of various ages. And on the wall of the bar among other celebrities-including the famous poet William Carlos Williams, native to New Jersey, a doctor in education-photo by IGGI POP, guru alternative rock, about which Jarmush had just shot films. The irony of fate: the idea of ​​repetitions picked up from the film to reality, and in the Cannes program there are two films of the director - in addition to Paterson, a documentary about IGGI POP. Jarmusha’s meditative cinema is nostalgic, naive and intentionally anachronical poems about the lost world, in which there is a place for illusions, quiet conversations in bars, disinterested connections, futile preferences and unhappy cordial inclinations. About the ephemerality of life itself and poetry. Which may not be appreciated by the chairman of the jury, the creator of the Cash Tetralogy "Mad Max" and by the way, a former doctor.

"Cute" for three hours

The modern history of the generals of sand quarries ”,“ children ”or“ wild hearts ”was tried to take off by the British Andrea Arnold. “American honey” is an unbearably prolonged Rootmuy about the nineteen -year -old “cutie” with a significant name of the old and sensual appearance. She joins the team of the same teenagers divorced in all respects, earning on sales of subscriptions of magazines, unstemedly knitting in Minivan in the Middle West. The film, shot in the style of a careless “documentary movie”, claims to express the spirit of a generation that ignores the material idea of ​​the American dream that cut off itself from society. But the visionary landscape of the generation, the study of the teenage subculture in the spirit of Has Van Sent, Harmoni Korin or Larry Clark does not come out. And Sasha Lane magnetism in the role of Star for three hours of this video hip-hop is obviously not.

How Abel the Giant became

In Cannes, as usual, a sea of ​​diverse genre cinema. It is difficult to come up with the best platform for taking a take -off of the audience project. Stephen Spielberg personally brought the film screening “Big and Good Giant” (in the name of the abbreviation - “BFG”). This is a film adaptation of the book of one of the greatest storytellers for children of the twentieth century Roalda Dahl about a long skinny giant. One night, a nosy bfg dream catcher (Mark Rilens, who became famous as the Soviet intelligence officer Abel in the recent Spielberg “Spy Bridge”, here is unrecognizable in the ears fluttering in the wind), dragged the baby Sophie from an orphan house, and took the country to the country of the giants. Not as good as a new friend Sophie, but on the contrary, evil and bloodthirsty. The big and kind giant Spielberg with visible pleasure composes a magical world, saturating him with a million details. In the creation of the world of dreams and dreams, we especially note the talented and - which is important - the delicate work of computer artists.

Cinema for primary school children. Mainly girls. Cinema about friendship. Relatively speaking, BFG grandfathers and his adopted granddaughter Sophie. The director himself explained to the journalists that he sought to combine “darkness and light”: “Such a combination is typical for the tradition of Disney’s films - especially the early ones:“ Dambo ”,“ Snow White and Seven Dwarves ”,“ Fantasy ”,“ Cinderella ”. Everything at the same time is scary and purifying, and at the same time it is able to teach a lesson - this prompted me to take a picture from Dahl’s book. ” Of course, this magical picture is far from the Dambo. And by the strength of the impact, the height of the "alien" is similar to the king of blockbusters is already unattainable. The first flowering part is generally densely sprinkled with sugar. But in the second viewer receives a generous gift. BFG and Sophie were invited to breakfast to the English Queen (Penelope Wilton). With the help of a variety of lord chacamers and Lord Hofmarhals, a table is organized for a giant, a tray with fried eggs, coffee in a bucket is poured from a garden watering can. And even despite the broken chandel from the times of Louis XIV, the mistress and the guest are satisfied with each other. In the final, the royal helicopters - pure Valkyrie - will cope with evil giants.