The ‘triangle of misery’ destroys the competition with a proposition like the blissful illusion of, let’s face it, gloomy. By his side, Christiane Mungieu dazzles with a bloodless dissection of Europe and George Miller drives her crazy with his most extraordinary version of himself.
“When you look at the Cannes red carpet and the passion people wear, you realize how much the fashion industry has learned to capitalize on absurd human behavior.” the master of the sentence Reuben Stund, The Swedish director who won the Palme d’Or five years ago on the same crimson tapestry he’s talking about. unfathomable ‘Crossroad’ (2017) was presented as the second investigation, so to speak, on our favorite entertaining places. The goal was understood as the art world The most sophisticated of gifts we reward ourselves in our desperation to have fun. before this ‘Surprise’ (2014), those who passed under the magnifying glass were ‘Resorts‘ to ski. and now, in ‘The Triangle of Grief’, attentive, cruise. But not those that ruin Venice, but those designed for those who are scandalously and deafeningly wealthy. To the point of vomiting if necessary (and this is not a metaphor).
once again, and as is the norm in This excellent student of Haneke and Roy Anderson, It is difficult to describe the film in one way. No human is alien to him. This is the story of capitalism, But as it progresses it becomes the best representation of chaos imaginable. For morality which can well be observed. It is also a reflection of how money affects indifferent matters, for example, love. And they don’t want to know the answer. Disappointing to say the least. Aesthetics, social hierarchy, patriarchy and even the highly debated manner in which the first world belongs to another are also part of the film’s agenda. In other words, and to put it simply, if Cannes and its carpet are the best summaries and representations of our faults, then this is your movie. No one can accuse the stump of not being in the right place.
‘The Triangle of Grief’, which refers to the wrinkles between the eyebrows on which many models work so as not to intimidate the client with an air of anxiety, recounts the eventful relationship between Carl (Harris Dickinson) and Yaya (Charlby Dean) in three acts. Is. The first episode (with a memorable argument at a restaurant over who pays) serves as a prelude to the sweet sorrow of two perfect bodies. and for sale. In the second we start. And a communist American and a liberal Russian oligarch of distrust (Zlatko Burik) will appear near Miracle by Woody Harrelson. “The difference between the one on the left and the one on the right is that the former has read Marx and the latter has understood him.” Listen. pay attention to that end of the chapter worthy of ‘feast’, by Marco Ferreri. In the third and final, most of the crew perish after a peak shipwreck on a supposedly deserted island. The only one who knows how to fish, cook and eat meat is a Filipina cleaner (Dolly De Leon), who is suddenly the boss. And that, I’m sorry, fucks up. The privileges of an unequal society under any circumstances.
Stallund sees cinema as a strange observatory where the camera limits itself to just about everything, including itself. The virtue of the Swedish gaze is its ability to turn every daily act into the result of infinite carefully sequenced errors. or dirty. in that or in a simple indecency. But without doing anything coercive, without doing anything parody. His cinema draws from Anderson the polymorph of the absurd and from Haneke, the frankness of the impossibility. Away from fiery customs, the film leaves a huge gap between the gaps in each of its stories; A hole in the fall. And, of course, you laugh. until you stop doing it. And then, everything seems scandalously gloomy.
The result is, undoubtedly, the best film I’ve seen in the competition: most disturbing, funniest, most violent, and most ridiculous. ‘The Triangle of Grief’ Cannes is.
Cristian Mungio’s transparent cinema
For the rest, the official section, Palme d’Or, Romanian for Palme d’Or, Swedish, wanted their big day to be complete. ‘rmn’by Christian Mungiu, This is yet another example of his cinema committed to reality, it is as clear, as accurate, as relevant as it is. Uncomfortable and emotional. Director of ‘Four Months, Three Weeks and Three Days’ ‘Beyond the Hills’ You ‘Exams’ (The three conquerors in Cannes) now stop in a community in Transylvania where people of Romanian, Hungarian and German descent have historically coexisted. When some Sri Lankan activists arrive, the self-protection mechanism (or stale ego) turns out to be old acquaintances: Xenophobia, misogyny, and other casualties of populism on Facebook. That, or since we are, the capitalism of the past.
The director once again demonstrates his penchant for creating delicate metaphors. and almost silent. The silence of a child, the spectator of an unspeakable catastrophe, guides the stages of a play dedicated to transforming a frozen, distant microcosm into the best representation of all of us by bears. “I always start with an event to understand what it says about us and the state of the world”, Mungiu likes to say. And so on until an accurate diagnosis of the fragility of supposedly difficult concepts as dignity or normal life is obtained.
Somehow, one after the other, and from fundamentally opposite positions, both ‘Triangle of sorrow How ‘rmn’ They talk the same thing because they talk about us. And, who has seen, there is no reason to be happy for anything.
out of competition, and as one of the stars of the day, he made an appearance ‘Three thousand years of longing’ (‘Tres mil aos esperandote’) will be called in Spanish), of George Miller. Can’t talk of disappointment as hardly any film has so much guts. The idea is to convey a lot of meaning to the description. And do it hand in hand with a love story, which is at the same time one of mutual loneliness, amid the brilliance of a lamp. (Idris Elba) and university professors specializing in storytelling (Tilda Swinton). The first is the ghost; Second, the person. First, immortal; Second, less. It’s a wildly extravagant extravagance of digital effects galloping through the centuries in the service of a simple conversation in a room. As it is.
the father of ‘Crazy Max’ He now presents the exact opposite of himself in any of his full and noisy deliveries. But he does it with a firm conviction and a sense of exuberance, the truth being that there is no other option but to surrender. It’s such an ugly movie that you fall in love; So insightful that it mesmerises. Certainly the opposite of everything: he likes it for his insistence in demystifying the principle of beauty. It is so surprising that any insult against him proves to be the most disappointing of compliments. therefore.
The days are set for distractions and this, with its brutal portrait of everything Cannes means as a light and guide, was one of them.
Buell and Goya are united by their contradictory ability to portray at the same time the most fragile and the most brutal. Carlos Saura is the line that connects one hand to the other, the deaf to the other. He who speaks is also Aragonese. His Confessions Are the Soul of the Documentary ‘The Shadow of Goya by Jean-Claude Carrey’, from Jose Luis Lepez Linares, Presented in the Cannes Classics section. The director says that his idea was to create the painter’s cinematographic fresco as he had previously done with El Bosco. But along the way he met Carrere, who was Buell’s screenwriter and in his own way an expert on the cast of Fuendetodos, and everything changed. Suddenly, the film is much more than a collection of crossover tributes. Carrie’s free, brilliant and unwavering conversation captures everything and lights everything up. We kept talking about Goya and ended up talking about everything. Pure improvisation and pure genius, says López Linares and really, it is.
according to the norms of