Only refinas will forgive

Cannes - everything. The main festival of the planet finally took the side of the cinema of the counterfeiters. If only it were possible to boast the solutions of the jury, which awarded not even the worst films, but the most conformal. Thank you for at least left without a prize shown under the curtain " Last Face ” Sean Penn, Melodrama against the background of a humanitarian catastrophe in Africa (like all rebels for no reason, Penn turned into a resoner with age, enthusiastically with the enthusiasm of the discoverer of the adaptive truisms like“ Love will defeat evil ”; literally!).

The Golden Branch is at Ken Louch, who actually officially said goodbye to the cinema last year, but he suddenly returned with the drama about the elderly "I am Daniel Blake". Already from the name, causing persistent associations with Facebook campaigns in support of all the best, it becomes clear that LoChee really finishes with the movie, and grabs the camera only when he hears the word “capitalism”. The proletariat for him is an eternal victim, he remained with his thoughts in the distant 1980s and stubbornly does not want to see the difference between the times of Tatcherism and today, in which the responsibility for the social dysfunction of society lies not so much at the tops as on the lies of the elite of the bottom.

Ksavier, who grabbed the Grand Prix, is still practicing the heartbreaking theme of family troubles, only now with a stellar composition. His “just the end of the world” is the story of a prodigal son, who returned home to declare his child death. Another anthem of the visualization of sexual minorities, tragic heroes by default. Gaspar Ulel, playing the main role, never left the image of Saint Laurent. Natalie Bai in a purple wig-a classic Dulanov mommy-Frick on the verge of traverse. There are more stupid music than usual, and the flashbacks of the first love of Louis were completely shot in the style of the clips of the group Bon Jovi .

Disappointed and Dardenne. The usual cinema of moral concern for them is strangled by a moral imperative from the first frames, the predictability of aesthetic tools is also not a joy to the viewer. The story of a doctor who stumbled in his asceticism, who is not enough to atone for a mistake, is too morally and straightforward, from the “unknown” there is a feeling of a Protestant sermon when you are required to repent from you immediately.

“Huletta” Pedro Almodovara, of course, looks advantageous against the background of the epigonism of the Dolan (both work on about the same territory of a sentimental Camp, only the Dolan’s shock weapon becomes not pop art, but pop music), but in fact it remains a decorative and applied, hollow movie equal to the external and internal. Outfits from Dior or Lucien Freud’s painting Almodovar are almost more important than the experiences of the Hulette's daughter.

Two paintings claimed the title of the main failure of the festival - “Personal Buyer” by Assayasa and “Neon Demon” Refna. The more amazing the jury’s decision is to reward Assayas for two with the virtuoso “graduations” of Christian Munzhiu Prize for the best directing. “Buyer” is a rather unintelligible movie that exists in the territory of several genres-from a mystical thriller to a melodrama, most of which also passes literally in the SMS correspondence of the victim with the pursuer. Assasy can not decide on the genre (so it’s not very clear what point of view on the film will be congenial to the author’s plan) and is too relied on the charisma of actress Stewart, who sometimes simply does not stretch her complex role.

The “neon demon”, in turn, makes us recall-besides jokes-about the Daltonism of director Refine, who has scorched something like a “unknown masterpiece”. Behind layers of nail polish here it makes no sense to see. That is, literally - it is difficult to even say what this movie is about, except that it is about girls in fantasy landscapes and interiors.

It is especially disappointing for the jury of the painting “Tony Erdman” by Maren Ada and “She” by the Verhuven. If Ade’s film is really not ambitious for the “palm branch” (the innate modesty of the “Berlin school” movie, which is limited to subtle observation of everyday life and “tender sadness”), then the new picture of the master of sarcastic kitsch Veruhven was certainly a faithful candidate for the highest award. Isabelle Jupper is more interesting in it than even in a cult “pianist”; Perhaps this is the best role in her career. A rare case of a film about a stranger for the director of a country that does without tourist sketches, without the slightest faux PAS . A crazy plot (the owner of the video game company starts a strange romance with his rapist), irony, a double bottom in each scene, an amazing ability to scare and laugh alternately.

Probably the only fair decision of the jury in 2016 was the honorary “palm branch” of Jean-Pierre Leo, who presented the extra-curric “death of Louis XIV” of the Catalan director of Serra-the Sinefilian cinema about the nature of the movie, which, alas, there is no place in the present world, so obsessed with the golden mean (read-mediocrity), which is all great. causes him fear.