Teenage drama became the big revelation of the festival, the day the Japanese director also shone ‘Broker’
The hardest thing about filming, or writing about it, is the fragility. And nothing breaks. Fragility as a concept is extraordinarily fragile. If we accept that the more complex an organism is, the more exposed it is to imbalances, bankruptcies or bills, then few are as vulnerable as humans in general and any of us in particular. . But, no matter how hard we try, our fragility has a limit, a breakage date, and it always ends with a personal cessation of death, which, in some way, by the continuation of the species, is biological. May be crossed culturally, or culturally, for example by cinema. Cases of agonic consciousness.
This was all discussed in the official segment of the day by two films that were not by Albert Serra. Great day then. Too many ‘Broker‘, ribbon Del Japonse Hirokazu Kore-eda, as ‘close, del beluga de 31 aos lucas dhont, They are two treatises on human infirmity and their clarity of detail is so close to suffering. Already we knew how far he could go for delicate acts like ‘A Family Affair’, which won the Palme d’Or in 2018. For this reason and for the entire filmography ‘After Life’ in 1998. The latter had left a note of his ambition in ‘.girl’, the delicately made film that also won the Golden Camera in 2018 which separates Best Debut Opera at Cannes. Well, and as a first diagnosis, Kore-eda once again shone in her geometric and theatrical splendor, while Dohunt found himself as an essentially weak director and Perfect in its vulnerability.
,close‘, to begin with, the film, whether or not Pam wins, will mark this year’s edition, tells the story of Lou (Eden Dambrine) and RMI (Gustav de Valle). Both of them are 13 years old and from there they dream of the whole world at their feet. and always together. Suddenly, something pushes them apart. With this premise as delicate as it is almost nonexistent, Dohnt manages to create a world that is as recognizable as it is transparent. The screen becomes a kind of mirror. Whatever happens in it is in the burning eyes and memory of the beholder. All his pain is ours. It has all its fragility.
The director tries to accurately describe each and every one of the infinite details that ‘close, And it ranges from rapid breathing to riding a bike, to fights on the school grounds, to embarrassing conversations at the table with parents, or through episodes of harassment and betrayal in the schoolyard. Everything counts in the extreme and precise exercise of delicacy. I fin’girl’, the director’s idea was to X-ray that space in the life of a young trans man who wants to dance, now that the abyss is one and the same. It’s about describing the absolute emptiness of a love (is there anything more delicate?) that breaks. The result is a film that instead of merely being watched, with breathlessness, lives in a state of fibrillation with a painful sense of life. Excessive.
Kore-eda is absolutely Kore-eda. Few directors have been so gifted in cinema that they can go from a quirky comedy to the biggest tragedies in a jiffy. There is no rest. The director returns to one of his favorite themes: a thousand different ways of a family that always ends up loving and protecting each other in the same way. Shot in South Korea with famous actors like Song Kang-hostar ofparasite‘ O Be do-na, recurring actress in movies Park Chan-wook, the film takes as its starting point the so-called “baby box”, a type of protected drawer or nest that was first set up in 2010 to house abandoned infants in the cell. As it is.
,Broker’ weaves together a plot that is clear and precise that involves the mother of the abandoned child, two smugglers of creatures that are not as bad as the latter, who haunt the latter, and an older child with huge eyes. Kore-eda once again creates a fable where no one is exactly what they appear to be and in which everyone, including those watching from the seat, is invited to reconsider the beliefs he holds so solid and Believed to be tenacious and, in fact, they are frighteningly fragile.
Again, The director juxtaposes moments of serious genius (phone conversations in the car) with a few more questionable, charming ones. But in any case, the convenience of breaking into nothing more than fair is simply commendable. Beautiful, nice and friendly. and happy. Such is the delicacy of Kore-eda.
Of course, by the end of the day, the whole ear was the torment of the broken beings. for the delicate. by Lucas Dhont.
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