Home Arts & Culture CANNES 2022. Correspondence from Eugenia Vodă: It remains a mystery

CANNES 2022. Correspondence from Eugenia Vodă: It remains a mystery


I remember that the premiere of the debut film Bogdan Mirică, with “Dogs”, in 2016, as time passes … The editions of Cannes, in time, merge into a TOT, and the truest image would be of a crowd of movie lovers, advancing in the dark like miners in search of the gold vein … A veteran Englishwoman from Cannes told me that she did an account after dozens of editions that she “covered” – and it turned out that he spent a whole year in the dark in the projections! One year of life!

The selectors must live in the same way, who, every year, insists on this idea, “watch over 2,000 (two thousand) films” until they reach the ones chosen for the competition. That is why the selection of films that have absolutely no performance at all remains a mystery, and which, looking at them, you refuse to believe that nothing better could have been found among the other two thousand rejected!

For example, the film by the Frenchman Arnaud Desplechin, “Brother and Sister”: a family chronicle, under the sign of love-hate: the brother is an awkward successful writer, the sister is a narcissistic and selfish theater actress, two swords that no longer fit in sheath. The film contains some brilliant sequences in itself, like head and tail shorts, which could be seen and understood separately from the rest – but overall we are dealing with a bushy “paleaşcă” that manages not to move and to say nothing! At one point, the actress (played especially badly by Marion Cotillard) is expected to leave the theater by a young fan, who idolizes her and with whom she will have one or two more conversation-confession sequences. For a Romanian spectator (for me at least!), It is irritating to find out that the fan is a Romanian who has not eaten for two days, who lives in a kind of “asylum” and who has a large family of Amaraşti residents left in Romania! Honestly, it has become a template! I’m tired of the miserable image of the “Romanian” character, which I’ve already seen in too many movies! I would also like to see a French film in which the “Romanian” is a character who “complexes”: to be beautiful-rich-intellectual-successful or at least, if possible, not to faint from hunger! Okay, Desplechin’s script quickly solves the problem of hunger, because Marion Cotillard’s actress runs alone on the deserted streets of the suburbs at a supermarket to buy some food for her fan! After solving the Romanian woman, in a bewildering end, we see the diva somewhere in Africa, because, it is known, and there is a lot of work there! … From a strictly aesthetic point of view, the Romanian woman’s character, although is played by a talented actress, Cosmina Stratan (awarded a few years ago at Cannes, with Cristina Flutur, for her performance in “After the Hills”), is charged, plays her exaltation too “high” – but of course guilty of such a He’s always the director.

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It remains a mystery to me whether “EO”, Jerzy Skolimowski’s film, would have been selected in the competition if the selection had been made “blindly”, ie without generics, without knowing who the author is. Most certainly not. However, it is touching how the Polish master of over 80 years manages to make an ambitious and complicated film, a symphony with many visual, sound, musical effects, through several media, following in the footsteps of a donkey plagued by the stupid and cruel world of people, a winding journey, from a circus to a slaughterhouse … It’s a special film, which, once you’ve seen it, you don’t forget, but it’s a hard-to-imagine film in an ordinary movie theater, outside Cannes …

Instead, at the age of 80, Marco Bellochio managed a short series (five episodes), a future great public success, in the good tradition of the Italian political film “Esterno Notte”, about the abduction and assassination of Aldo Moro, in ’78, by the Red Brigades, a chapter of history left with its areas of unsolved mystery) … Let’s hope that, in addition to so much nonsense that our televisions generously broadcast, there will be a place for this exceptional series – in which some voices saw “the best thing about Cannes 2022”, even if in a section parallel to the competition, Cannes Premiere.

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In the Cannes Classics section, a moment of grace was the homage of Gerard Philipe, whose birthday (even at Cannes) is 100 years old in December! An actor who, before dying of an incurable and galloping disease, a few days before his 37th birthday, brought to the world’s cinema an amalgam of intelligence, enthusiasm, romantic beauty, from “Fanfan to Tulip” at the “Parma Monastery”, but also so many others, plus a very rich theatrical career! The emblem of a generation, a star avant la lettre, which (we learn from the documentary “The Last Winter of Cid” by Patrick Jeudy) was also what is called “a moral actor”, and a man with a soul … Discover, in Gerard Philipe’s biography, paradoxical situations: for example, his father, a wealthy lawyer, was a “collaborator” and sentenced to death after the war, but in his absence because he had taken refuge in Spain – and Gerard Philipe !) sent him money and visited his father often! He too, who was a member of the French Communist Party and was received as head of state by Fidel Castro – was the one who protested the invasion of Russian tanks in Budapest in ’56 …

An elderly lady, Anne-Marie, Gerard Philipe’s daughter, took the stage at Cannes. the very image of Time, which swallows everything.

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