Dissatisfaction with culture

Venice may be listed as the second most important festival after Cannes, but the gap between them every year is more noticeable and more noticeable. The so -called spectator cinema in Cannes exists outside the competition, its destiny is the closure/discovery ceremony. Lido is allegedly more democratic than Cruisette, but it seems that they are trying to compensate for the overall provincial of recent years here with loud premieres. So this year the first three films of the competitive program are typical examples of cinematic populism. La La Land Vunderkind Damien Shazel is an ambitious attempt to reanimate the long -deceased musical genre with unsuccessful casting. Selected from the conjunctural considerations for the main role (jazz musician) Ryan Gosling, an actor with idol plastic, does not keep up with Bibop's cheerful rhythms. And no matter how carefully the director of Hollywood is nostalging, what is happening on the screen more resembles a cruise variety than “singing in the rain”.

The “coming” of Denis Vilnev, who has established himself as the author of strong, not devoid of the formalistic game of thrillers, is an unexpected step towards pseudo-intelligent SCI-Fi type of recent Interstellar. Once again, we are convinced with the regret that each director of the mainstream contains the skeleton of Tarkovsky in the closet, and some also have a portrait of Terrence Malik. A science story about an alien mind, according to a good old tradition, depicted by artists in the form of a head -legged mollusk, from Vilnev acquires a linguistic background. To any student of the philological faculty who read “Introduction to Linguistics” by Professor Maslov, theoretical calculations about the nature of the language in the translation into film -American will be ridiculous. Even funnier geopolitical parallels with today's difficult situation, bad Chinese and Russian generals, due to the communist stubbornness pushing the world to certain death (thanks that, unlike “gravity”, they do not pour vodka in the frame). And the good black generals of the United States, who have a heart beats under a tunic, not a party card. All this causes only one desire - to ask Vilnev a painful question: "What are your evidence?"

“Lighthouse between the two oceans” is a moralizer retrodrama about “once lies” with Michael Fassbender and Alicia Vikander as a childless couple, who appropriated a stranger child. The reasoning spoke at the beginning of the film about the absence of a child who has lost the child in any language-like the existing “widow/widow”-just a month ago it sounded in the “destruction” of Jean-Marca Valle, and, in general, that’s all that you need to know about the film. Fassbender here is a grimace in a grimace repeats his fallen First World Hero from the "Angel" by Francois Ozon. Children scream, women cry, the ocean will endure everything. The unbearably sentimental, extremely protracted cinema with the characteristic open -precise plans of the elements, the musical multi -plate of the Stakhanovs Descue and the series of posts -sceptums - ten years later, twenty, thirty ...

For the author’s opinion, on the first day of the competition, Vim Wenders was responsible with the 3D adaptation of the work of Peter Handke “Beautiful Days in Aranhues”. The chamber “Cinema on the chairs”, an hour and a half, leisurely and pretentious conversation between a man and a woman in the sun -flooded garden without a shadow of irony. Humanistic festival of metaphors and allusions. Of course, a man and a woman here personify the human race, for special tights, Wenders puts an apple on the table. 3D needed to emphasize the game of reflections, absolutely Magritt in spirit: a picture as a window into the world, which shows a window with a view of the world in which another world is seen, and so to infinity. All the components of “other cinema” seems to be on the spot: heavy dialogues, Nick Kave, Paul Branco, high-parting the topic, winking the hosts of the Great, deliberate anti-being-in short, pure movie of the film, which the heroes of the 60s and 70s could afford. Today, all this, including a vinyl, lovingly recorded by a camera in the first frames, seems to be atavism, whose place is in the museum forever lost innocence.