Translated material
Dog life
On the award of Russian cinema and strong competitive films shown under the curtain of the Cannes Film Festival
The festival is close to the final. The rating of films is already more or less clear, leaders and outsiders are obvious. The competitive program is traditionally scolded, and traditionally there are copyright statements in it, which they will write about, argue that will be reviewed. We talk about the films "Under the Curtain."
Fate circle
The second prize of the Sinefondasion program was awarded to the short film "Calendar" directed by Igor Poplaukhin and producers of Konstantin Shavlovsky and Alexandra Akhmadshina. The plot is very conditional. This is a middle -aged woman. It changes its modes of transport, path trajectory. It seems to be "noticeing traces." In general, in this “circles” - so much unanimous that the viewer involuntarily creates his journey in his head. And only in the final the story clears up. The main thing here is the atmosphere, a feeling of growing incomprehensible anxiety. The influence of the teacher Poplaukhin in the “Moscow New Cinema School”, director Dmitry Mamuli, whose film is full of secrets and omissions, is noticeable.
Igor Poplaukhin studied at the journalism department, graduated from the Moscow School of New Cinema. He is an intellectual and Sinefil. He shot his first film in his country house. Today in his filmography of 4 short films, and now his name is included in the Cannes Club of Directors.
For mothers who throw their children
The Ayka contest completed the second game picture of the famous documentary player Sergey Paratovoy. Thematically, the history of immigrants from Kyrgyzstan echoes the film "Capernaum" , shown the day before. “Capernaum” is the third full -length work of the actress and director Nadin Labaki (in the Cannes show there were her films “Caramel” and “And where are we now?”). Labaki prophesies the “palm” leading publications. The Afro-American illegal vapor hides a one-year-old son, so that she is not deported from Beirut slums.
A boy from a poor family is nailed to her, who, like a real man and a warrior, tries to be a defender of a “new family”, but primarily a baby. Trying with all its might. Heroically. It produces food, steals diapers, sells drug water with “wheels”. It is worn with a child in his arms in a foreign city ...
Films are completely different in cinema, temperament, including art and social.
In the Kapernaum tape, the boy suits his parents, who "give birth to children, not realizing his responsibility for their lives." And their children die. Social pathos has been paid in modern human tragedy. The picture is supersensible, the auditorium is sobbing. In addition, the game of unprofessional actors, primarily amazing children. Well, a twelve -year -old boy is a genius. But how did Labaki succeeded in “playing out” a one -year -old baby who exists naturally, while clearly following a hard scenario drawing?
The movie is all on the fort, the music is excellent, however, sometimes you want silence. Cinema as an onslaught, an attack against the meanness of the modern world.
In one of the scenes, the humanitarian European delegation visits unfortunate people in prison. And in order to “facilitate their fate”, prosperous people sing and dance for them. Some of the prisoners even try to “dance” them, but mainly because of the grate in the look only black abysses are visible.
Palace has everything quieter, there is an ugliness of the social structure of society. The heroine gives birth to a child in Moscow, but is forced to leave him in the hospital, literally flee. And then the whole film she runs through a closed hopelessness. And around a very terrible city in Moscow. The cops beat disenfranchised visitors and take bribes. People are condescending to animals, but not to people.
The city does not cope not only with snowfall. It does not cope with hundreds of thousands of visitors. The city does not see them, does not see that each of them is a person.
The film is honest, but single -line. It has a lot of physiology, straightforward, and let's say directly, not very subtle parallels. In one of the scenes, a mother who cannot feed the child looks at a wounded dog who feeds puppies.
In the previous film, the palane “Tulip”, which received the main prize of the program of the festival “Special View” was poetry and mythology. There was, for example, the scene that stunned the audience: the young shepherd first takes birth at the sheep. When he is a flooded wet lump in his mother’s putty - consider, the lamb - it makes artificial respiration, it seems that the battle of life and death will be performed before our eyes. There is no such breakthrough in a new job. It seems that the qualifying committee accepted the picture more for the correspondence of the end -to -end topic of the humiliation of women and the “affectionate indifference of the world” - that was the name of the Kazakhstani picture of Adilkhan Yerzhanov. A phrase from "outsider" Camus. A movie about the fact that there is no place in a world where there is no truth. The picture, made in the development of a new Kazakh wave, contrasts the troublesome, absurd and cruel world of people - the eternity of nature. But the film does not open new horizons.
The affectionate indifference of the world
I must say that closer to the finale showed rather strong paintings.
Probably the most talented Korean director Lee Chan-Don (Oasis, Poetry) composed the film “Burning” based on the story of Haruki Murakami “Burn the barn”. The story, frankly, is uncomplicated. About the relationship of the young man, his former classmate and her new acquaintance - richer. On the screen, the text by marks is growing up with poetry, a secret, it is not known from what sources of the arising Saspens and longing.
The long -standing girlfriend Hami asks Chongs - a novice writer - to look after the cat - she decided to visit Africa. From the trip, she returns to the company of luxurious and languid Ben, the owner of a chic apartment and Porsche. Ben does not see the difference between work and game, game and life. For his own pleasure, he sets fire to greenhouses scattered around the city. This strange triangle is scattered all the time and gathered again. Moreover, the light dreamer Hami at some point disappears without a trace. Literally it is.
In this attractive twilight cinema, the lights of allusions and references flare up: the Great Gatsby, and the works of Faulkner, whose fan is Chongs, and the “disappeared” Flynn, and even the “breakfast at Tiffany” Kapota. In the clouds in the clouds of unpredictable Hami, it seems, there is a cat. This is “seemingly” - a key word for the film. It seems to be a cat. And he was not. And whether he was killed by Hami Charismatic with a devilish smile Ben. Or she was not there. And whether Ben is setting up. Or maybe all this is composed by the writer's imagination of Chongs? The skillful power of the imagination, the irrational principle is stronger than the faded reality, which is now fashionable to reproduce on the screen in all details. And the cinematic skill of Lee Chan-Don, like a lace, laceing this surreal poem-proof of this.
One of the pronounced brutal male films in the competition where women dominate ” - “ Dogman ” Matteo Garron (“ taxidermist ”,“ Gomorrah ” - both films received the Grand Prix of Cannes). A movie about the brutal power of the modern world, which is able to resist only death. The hero is a small, eccentric Marcello. It is a “dogman”: cuts, combs, wash, dries with a hairdryer of dogs, arranges a small hotel for four -legged ones. He even wins in "dog competitions", making the poodle the smallest pile. A little shakes with cocaine. He is friends with the thunderstorm of the city of Simone, an uncontrollable raging monster, breaking his noses in daily fights.
The dream of the death of Simon lives the whole hot town. But Marchello covers a comrade in the next crime ... and even helps to commit it. Springs in prison for a whole year. It would be strange to wait for gratitude from the dog bastard Simone. In addition, the whole city will turn away from the useless overwhelmed Marcello. The film has a strong scene. Two people kill each other - a fight is not for life. And this animal cruelty from their cells with sad sympathy is observed by dogs.
Garron considers the structure of human relationships, studying border topics, bringing the viewer to a boiling point. But in this space of explosion - freedom and organic. Immersion in the secret is a human essence, around which the "affectionate indifference of the world."