And yet they died out

With mixed feelings, Venetian reports have to be completed. Shown at the end of the work of Malik and Konchalovsky, maybe not as bad as we were afraid, but certainly do not reach the plank (in the person of Tom Ford). The “Jackie” Pablo Larrain and, alas, “Austerlitz” of the Loznitsa were disappointment. The endless search for God, or rather, answers to the rhetorical “Who are we? Where? Where are we going? " They reach the funny. Neither in the vintage wardrobe Mrs. Kennedy, nor in the Paleontological Zoo, nor in the heavenly office of God. He went out, but, as the directors naively assure us, promised to return.

The Bayopic pricked by Darren Aronofsky about the life of a woman who has guessed before others that Lifestail is a new religion of the twentieth century and, accordingly, the way to eternity, tells how, out of conversations with the journalist Life Magazine , a confessional “Camelot”, a legendary interview with the 35th president of the United States was born. The widow crushed by the widow of Natalie Portman, diligently next to Stanislavsky’s desk, looks parody; So they portray Jackie in the traverse presentations “at Misha” in Paris. Not yet “Jackie O”, the Muse of Warhol and Queer Queen , but not the first lady in Chanel's colorful costumes. The heroine in search of the author, who became the death of her husband; The expression “would not be Jackie without Jack” acquires a new meaning from Larrain - not everyone is able to create an epic from personal loss.

Terrens Malika "Time Traveling"-New Age-Science in National style Geographic . Once shocked everyone to the core of the lizard from the "Tree of Life" here frolic full. Natural, especially for an elderly person, the desire to know the essence of things and phenomena in Malik takes literal forms. This is a chair, they are sitting on it, this is a table, they eat behind him, this is our land, it is spinning. What happened to the author of the brilliant “wasteland” - a riddle, above which it became a good tone to laugh, and not rack his head. The “journey”, however, is annoying less than the unbearable “Knight of Cups”, since Malik finally left the person alone. The movement of protoplasm today is more interesting than psychosomatics. Cosmogony, flavored with philosophical truisms (the sunsid text reads Kate Blanchett), from time to time is interrupted by the chronicle of current events - migrants, Bombing ETC. Anthropological myizrabilism with a clear conclusion: dinosaurs are better than people.

The misanthropy of Malik is shared by Sergey Loznitsa. Inspired by Zebald's book about pilgrimage to the death camp of Austerlitz - not a film, but a conviction. Maybe the loser and manipulates the facts - more precisely, texture, the heroes are reduced to the blessing of the mass - not as rude as the inhabitant or professional deceiver Michael Moore (in the end, there is no direct author’s commentary in Austerlitz). But his camera is sushled by prejudices and offended in feelings. On the agenda is an incorrectly asked question. How should contemporaries behave, falling on the ashes of fate, in Dachau and Zakenhausen? Do they vulminate in their carelessness alien long -standing? In his silent moralization, Loznitsa is even more aggressive than Lancman, who grabbed the former Gauliters for the lapel in Treblink. However, the director does not give recommendations for etiquette, but he is sure that the selfies in the place of mass executions are monstrous Faux PAS . As the hero of Raifa Fins said in the "Big Splash" - "All of Europe is one big grave." Under each stone there is not only the decayed flesh, but also not justified hopes and ideas; In hot pursuit, after Auschwitz, not only mass culture, but also poetry was declared barbarism. But the question of respect for memory should not be asked to those who “consume” it, but to those who “form”: is it reasonable to engage in the conservation of concentration camps when new ones are built nearby - for refugees?

In the camp, the action of Andron Konchalovsky also unfolds. It seems that World War II and Holocaust are topics that, as an emery, directors polish their ego. More than half a century of erases in the MEA Culpa genre prove that only the battal attractions of Hollywood have the right to be the right to be the right to be, and the notorious “author’s glance” of the artist is immoral even more deeply than the naive Exploitation . And any excuses in the spirit that chronicle or documentary masterpieces like “Shoa” leave the story of private suffering behind the scenes, and the playful cinema puts a small person to the fore, saving him from oblivion - all this is speculation, and in this case even worse - senile coquetry. This is not the heroine of Julia Vysotskaya, standing on the threshold of a gas chamber, tries to scratch on the wall of Olya to remember; This director Konchalovsky writes his name in the annals of world artistic culture. The “paradise” contains cinematographic cliches of different eras, including the one in which Konchalovsky still had something to say to the world (that is, the 70s). There are a lot of a morape, including the best in his long career of “Mary's Lovers”. But to whom, if not Andron Sergeevich, who pedaling his ethical and aesthetic dendism in frequent newspaper columns, to know that art is largely a matter of taste; Namely, with taste in the "paradise" of the problem. The scenes of the pre -war life here are almost the adventures of the scarf from the "Solar blow"; The final with the inviter to visit the Lord God is worse than all the dinosaurs of Malik together. It is possible that “Paradise” will be awarded for directing.

And since it was about the prizes: it is a shame that Rebecca’s film is Zlotovsky “Planetarium”, actually almost the best film of the festival, was not even included in the competition and actually passed. The strange story of two medium sisters (Natalie Portman and Lily Rose Depp), touring in pre-war France, is an obstacle to the pioneers of cinema and at the same time a bizarre metaphor for life, in which the most important thing is to be born under the right star. The film producer Corben (more precisely, Korbinski), having believed in the talents of the younger sister, lowers the budget of the new film to expensive attempts to fix the spirits on the film; The group, and then the owners of the studio declare him a dangerous crazy one. Although he is not dreaming, but all the others - the whole country is busy with fishing fantoms - Corbena will soon be sent to the camp. Reporting to the playful, quite vudiallen in the spirit of retro, “Planetarium - both the drama of characters, and the philosophical study of cinema ontology, and aesthetic manifesto. That is, all that we are waiting for, going to the cinema.