Because on Sunday night, all eyes were on to the final of the Eurovision song contest commentators “Tape.ru have to join the movies last weekend. Movies — and beautiful — enough: esthetic erotica from the author of “Oldboy” and the blockbuster Spielberg and Jim Jarmusch about the life and poetry.
Igor Igritsky about the competitive program
On Saturday 14 may in the contest showed “Mademoiselle”: in the opinion of many of our colleagues, even for the sake of this tape was worth to stand in those endless queues. Outstanding Korean master Park Chan-wook, the author of the cult “Oldboy” has created a picture which I could describe as a perfect movie. No more and no less. Each frame can be inserted in the frame, original music — a character in the picture, the actress descended from Japanese prints, erotic scenes as if copied from medieval treatises, blood and death are elements of a complex multicolored decoration and so on.
In addition to these beauties, “Mademoiselle” is provided with the detective plot, consistently becoming a romance, a story of fraud and, finally, a powerful lesbian love story in the manner of the recent Cannes winner “the Life of Adele” or last year’s favorite critics ‘ “Carol” — only in Sino-Korean recension, having its own aesthetic characteristics. The film consists of three short stories, narrated consistently from the point of view characters: cute maids from occupied Korea (the action takes place in the beginning of the last century), the beautiful Japanese women, the heiress and the crook posing as an aristocrat, who decided with the help of a Korean woman to marry money. As a rich bride was brought up under the strict Japanese uncle, prone to different kinds of traditional perversion, liars need to ingratiate himself to him. The result is not a Platonic passion, the much-anticipated broke out between beautiful heroines (the casting of the female roles in the movie gorgeous), trick seduction fails. But what is spoken in the first case, the words of a maid, the second lady, turns into a cruel deception of all expectations, which internally interprets the unfortunate hero-lover in the third novel: he is in our eyes a huge clippers will cut your fingers, and it will be the lesser of two evils. “Mademoiselle” is as good as it has no chance of awards: the jury of such pandering to the tastes of the public, I’m afraid to rate unable to.
A film by Jim Jarmusch called “Paterson” I was literally brainwashed. Will tell you why. This painting is one of those that drives to sleep on the first frame, but if you overcame this natural desire, especially given that the Director in his most recent tapes lulls viscous synthesized music, you will find revelation. Here’s how to make a movie with virtually no plot, no stars, using methods of prehistoric ago — projected on the screen, the poetic text that reads main character; how to make one of the main characters a dog (of course, the English bulldog, who else), to repeat the same scene seven times in a row (the number of days of the week, and titrating them up on the screen, otherwise we would not have guessed): the heroes awaken, stood up, he went to work, came home, went to bar, drank some beer, talked to the bartender, again read the verses and so on to infinity… How to remove it all so banal — and create masterpieces?
Jarmusch is clearly and obviously returns to the roots of his art, to the paintings, where there are no vampires, assassins, the living and the dead Indians, drunken Finns and the living Elvises. He’s making a movie about yourself. No, of course not literally. Paterson — this provincial American town, though, with a beautiful waterfall in the center, and the name of the hero, and General all around now so called. Paterson, a synonym of man.
Still from the film “Paterson”
A movie like this about a guy who works as a bus driver, being a poet (or Vice versa). Which has a bit of a freak, but a beautiful wife who dreams of becoming a country singer, a little house, a cute dog and some kind of impossibly dull life. But it is not important. He writes very poor form poetry, writes them in a notebook, and nobody, except his wife, they will never read. Wife thinks he’s a genius, that’s enough. Imagine more of the story in this picture significant is not happening anything. But what it has is enough to gradually we began to recognize in this good-natured guy and very Jarmusch, himself, and in General any creative unit, and the identity of the creature.” At first it seems that the Director of such level simply mocking the audience, composing some miserable hack about anything, but after a half hour suddenly realize that actually talking about himself, he says about all of us, and it’s much more important author’s statement than any vampire Saga. Jarmusch unobtrusive, distanced, extremely minimalistic, with hints literally describes the state of a person falling from the reality of life in a reality sense. On the philosophical significance of this extremely simple plot, not least because of the wonderful game Adam Driver, becomes almost a Manifesto, the apotheosis of intelligent searches of one of the most outstanding American Directors. And here is the profound simplicity of utterance produces the zombie effect: I want to take a notebook and write some stupid poem.
Denis Ruzaev about the American giants and the Korean zombie
Think anyone else at the festival did not like the competition film a Brit Andrea Arnold’s “American honey” — in addition to met me in line on a beautiful, full of irony and love Jarmusch 18-year-old blogger from California: he was convinced that this movie is about him and his friends. 18 I have not (thankfully), in California, I was not (yet) — but it’s about me too, how about everyone who remembers how it really was to be 18-year-old. The story of a young hussy, named Old (irresistible Sasha lane) that runs from a miserable life with a young teenage circus team nobody wants young bangers selling to ordinary people subscribe to useless magazines, Arnold pours like honey on almost three hours of screen time. Constantly booming southern hip-hop, the characters-ignoramus burn more time and money than they earn, really (from the point of view of classical drama), nothing happens — that it is necessary to think, and irritates opponents of the film.
Generally, movies about growing up a variety of challenging teenagers take hundreds, if not thousands of filmmakers around the world but known to me only Arnold understands the main thing: grow up, not when something extraordinary is going on in the range from love to injury, and when something is permanent that’s going to happen and is not happening, bypasses. Growing up, only experiencing, reflecting this expectation. As you know, I love Medoc — love and chill: and the feeling of threat, of danger permeates “American honey”. Daring too Old constantly runs into problems, its the thing to fire risk, to rape, to kill, but Arnold avoids the temptation to punish the girl on the next turn of the plot, and thus, avoids moralizing and adult. Thus, it achieves the effect of recognition, far more powerful than any million account movie about how cute the wiser another misunderstood teenager — people, that, as the reaction to “American honey”, age didn’t really become smarter.
Still from the film “American honey”
The Briton Arnold in “Honey” increases the size of your canvas, after moving to America — American Steven Spielberg in his new “Big giant and the good”, in contrast, is sent to Britain. His adaptation of the tale by Roald Dahl about friendship orphan and a giant dream catcher full of very English humour — starting with the nonstop puns and accents and ending with the final escape route of the British Queen. Enough and first-class visual tricks — Spielberg creates another in his rich filmography imaginary world: who else could embody on the big screen extravagant fancy Dahl? Another thing that commercial vacuum rental of this movie will look much more advantageous than the art-house film festival — where it is very different from all other circuses as a guide for the young audience. So frankly Spielberg children’s movie, it seems, has not yet removed — and in his case it’s not exactly a compliment: even “Alien” with “Tintin” were imbued with the nostalgia of a man Recalling a childhood rather than experiencing it, “Big friendly giant” same Lisp with the audience to infantilism.
But the movie genre, and good, contrary to the stereotype, in Cannes enough — it just comes back not of the most obvious regions. However, with regard to the Korean industry, the quality of local thrillers and militants curious onlookers do not need to tell — now, after shown on the days out of competition “Train to Busan,” directed by San Yong-Ho, the same can be recognized in relation to zombie films. Apocalypse cannibalism begins in the fifth minute, with the departure of the night Express train from Seoul. Starting briskly, then does not relax until the very end, masterfully pushing up and pushing up the tempo, colorful strokes acquainting the public with the key characters and starting to kill them only when empathy is already developed. Yong San-Ho previously worked in animation — and her zombie special effects are not inferior to Hollywood, and unhackneyed ability to tell a story and surprise at every turn of rails in American genre films altogether superior. Yong San-Ho thus learned the main lesson of Romero and carpenter — zombie invasion here is the reason first of all to tell a few unpleasant truths about humankind itself, which in a critical situation humanity and then failing. Considering how the Renaissance of the erotic Thriller in the same day demonstrated with the help of lesbian intrigue and retrosternal in his “Madmuazele” (the name can also be translated as “Girl” or “Maid”), Park Chan-wook, a Korean movie about you was not the first to notice that his teacher, that is Hollywood, it is significant and effectively surpassed.
