The excessive cinema of Russian Kirill Serebrennikov and the miracle of an alpine melodrama


Felix Van Groeningen and Charlotte Vandermarsh are thrilled with “The Eight Mountains” and the only Russian directors in competition to justify breaking the ban with the baroque and atrocious drama “Tchaikovsky’s Wife.”

Actress Alyona Mikhailova, actor Odin Biron, director Kirill Serebrennikov and actor Filipp Avdeev on the red carpet at Cannes The Pale
Actress Alyona Mikhailova, actor Odin Biron, director Kirill Serebrennikov and actor Philip Avdeev present the film “Tchaikovsky’s Wife” on the red carpet in Cannes.descriptionEFE
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bill Kirill Serebrennikov What attracts most to Tchaikovsky is its immensity. Tchaikovsky does not fit. “He’s just a universe. It’s huge. He’s a Russian genius, but he belongs to European culture … and yet his life is a real mystery,” he says. may be something that best defines the film Felix Van Groeningen and Charlotte Vandermarsch, ‘Eight Mountains’ Talks about the friendship of two men in the middle of the Alps. And indeed the vastness of the stage, its subdued roughness, permeates everything with the same clarity with which it hides everything. The more obvious, the more confusing, the more transparent, the less recognizable. And even, and not to exaggerate the metaphors, the coincidence between the two films in competition.

The most anticipated, the only Russian in the contest, is one of those who are determined to break everything: the universal blockade of everything that comes from Putin, the taboo about the life of the great composer.holy march‘ and the limits, if ever any, of melodrama. Let there be justification, condemnation and even penance in its exaggeration. The film tells exactly what the title announces ‘Tchaikovsky’s Wife’ (Tchaikovsky’s wife) and stops at the secret life of a hidden woman. It was distorted in life and wiped out directly after his death when the Soviet Union gave itself, as the director himself admits, to clear the myth of any trace of lustful capitalist dust. . That the greatest genius was gay and would devote a good part of his existence to humiliating the one who loved him so much, was a truth as well as patriarchal, unforgivable and unbearable.

In line with his style, the director of the baroque prodigy ‘impressed’lay down‘ O ‘Petrov’s flu’’ converts each shot into an ellipsoid and a subtle body choreography that hides at every turn of the camera. And at every turn he is reborn. Some directors gave the gift of being dazzling and unbalanced. Few filmmakers are so prodigious. Everything revolves around the interpretation of one Alyona Mikhailova who is always in tension and is very close to miracles. And there, in his tiny body, martyred a thousand times, the film grows bigger and takes on a tragic tone as deep as it gets.

It is true that Serebrennikov lives and is so aware of himself and loves his talent so much that the film He throws himself in the arms of a virtuoso between laborious, repetitive and simply cumbersome. In any case, the director’s ease of turning the taboo into poison or manhood, in general, deserves some very toxic well and justifies each of the breakdowns mentioned above, including the fact that Cannes made such a film. Selected the aristocratic Roman Abramovich among his patrons, which tells the story. Whatever it is, the mystery of the extreme residue, the grace of the superlative, the utterly opaque transparency.

Lupo Barbero, Luca Marinelli, Alessandro Borghi, Cristiano Sasella and director Felix van Groeningen in presentation
Lupo Barbero, Luca Marinelli, Alessandro Borghi, Cristiano Sasella and director Felix van Groeningen in the presentation of “The Eight Mountains”.daniel coleAP

Perfect Alpine Melodrama

In his favor, the surprise of the day was done by the directors. Felix Van Groeningen and Charlotte Vandermarsch, From the very first of them, we knew about his solo work, always so close to the classic melodrama and always admitting it, so unsuccessful. Despite their relative celebrity, neither ‘Alabama Monroe’ in ‘Pretty boy. you will always be my son’ went from being a dozen readings to tragic without omitting one of the most treatable clichés.

That’s why, and probably because of Charlotte Vandermarsh, it’s so gratifying. ‘Eight Mountains’ (Eight Mountains). Their ability to offer the flight of two whole lives without fainting and letting themselves down the slopes of the most ordinary places excites and excites in equal measure. The success itself of turning the alpine vastness into a larger-than-life stage adds up to a beautiful and clear metaphor.

Actors Luca Marinelli and Alessandro Borghi are in charge, this time from their Russian partner Mikhailova. Because of its subtlety, its sturdiness and the depth of its well-cared for. The tape closes to narrate the lives of two children who, with the passage of time, cease to be children. Happens frequently. The former lives in the mountains with his aunt, oblivious to the care of a father who works abroad and a mother who has ceased to exist. The second, who spends only summers in those mountains, lives with the care of his mother and the gentle harshness of his father.

The film follows in the footsteps of both, but what it really portrays is an accurate outline of a fake discontent. and eternal. We could have already repeated the point of toxic masculinity, but it’s not a good idea to burden our luck so much. ‘Eight Mountains’ Through the two fragmented existences one succumbs to the contradiction which may be called essential and He does so with a sense of emotion, sadness, beauty and rigor that is far more than remarkable. Then, it is the immense, the unreachable, that covers everything. To emphasize the oxymoron: opaque transparency.

Pythagoras said that the friction of the planets with each other produces a noise that, being deaf, becomes inaudible: ball noise, Let’s just say that ‘Tchaikovsky’s Wife’ Like, above all, ‘Eight Mountains’ They sound like this: Joe disappears out of proportion by the end. therefore.

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