Cannes strong but morbid: you laugh at home

No nude or voluminous ball dresses on the red carpet, only five super yachts in the bay and Variety He complains that the marketing excess has disappeared at the 78th Film Festival of Cannes. The film world is doing it for a moment this year, so this year the Filmfestival is missing Sylvester Stallone that davert on a tank over the Boulevard de la Croisette Davert (The Expendables 3), or fighter jets who write the tricolor in the air (Maverick). Even jumbo screens with non-stop trailers are missing.

That austerity contributes to the serious, focused atmosphere of this volume. The Cannes Film Festival revolves around cinema with a large C; There is no more room for TV series from streamers. The film offer of the 78th edition can handle that, with masterful, very good and interesting films and of course a single disappointment. The overall tone is fatalistic, desperate or even morbid.

This is how an angry or hopeful missing J ‘Accuse …!: Political films are rather bitter or sarcastically shrug. You expect a (very) slow approaching fate from the Ukrainian gloomman Sergej Loznitsa Two Prosecutorswhere a young communist lawyer wants to get his right during Stalin’s great cleansing. Also from Paniqueur Ari Aster, known from Arthousehorror as Midsommar and Hereditarydon’t expect fun, but he tells himself a bit to the down -bending political satire Eddington In which Kleinsteeds America turns into a madhouse in the year of the Pandemie and Black Lives Matter. Pedro Pascal plays a left-wing status quo mayor in Texas who introduces a strict mouth cap policy-for others than-while he jams a new data center through it. While the youth becomes absurd Woke, Sheriff Joe Cross (Joaquin Phoenix) falls in Maga-Madies about reptiles and the pedophile elite. Aster’s film himself from blunt satire to a bitter western-noir and paranoid Rambo-Extravaganza that can no longer be tied to tie. Aster told the press afterwards that Eddington His fears reflects on an America that it no longer agrees about what is real and what is not. That is probably related to that new data center – or the internet.

The political thriller is better File 137 of the French veteran Dominik Moll, in which Léa Drucker as Inspector Stéphanie van Internal Affairs investigates a violent extenses that a young provincial permanent brain damage causes a protest of yellow vests at the end of 2018. It is a meteorous, boned account of a good will in which the citizens of the civilians brings together. And how that feeds distrust and populism.

Ghost movies

The real masterpieces of the 78th Cannes do not breathe so much political, but existential despair. The Sound of Falling From newcomer Mascha Schilinski is a breathtaking, melancholy and labyrinthian ghost film where the lives of four generations of women on a German farm Altmark tie into each other. In an extremely subjective film style with old colors and shallow focus, they peek through cracks and key holes into female suffering, trauma and desire for death; A recurring motive is the 19th-century use to take a group photo with the corpse of a deceased child, sometimes stitched open with sewing cigars with the eyelids.

Equally spooky, but a little less successful in the fatalistic postpartum drama That, my love from Lynne Ramsay. Jennifer Lawrence is Oscarworthy as a young mother Grace who loses her grip on reality – with her beloved Jackson (Robert Pattinson) the music always went on a maximum of volume when communication threatened. The color palette is creepy beautiful, but it is stunning at times That, my love Provides an explanation out so that the cycle of psychosis and temporary recovery will frame.

A sensation in Cannes is Sirâtwhat refers to the bridge between hell and heaven: thin as a hair, sharp like a knife. Father Ruiz makes a great sacrifice to walk that bridge in this masterpiece of the Spanish mystic Oliver Laxe that you feel in your bone marrow. If your fillings do not go vibrating from the techno, it is the nasty surprises that the Rave-Pelgrims await in what turns out to be a dead dance. It starts with the Spanish father Ruiz who is looking for his disappeared daughter with his son on an alternative rave in the Moroccan desert. Elsewhere a catastrophe, the Third World War? « Ah, it has already started, » Laxe explained to us afterwards. What remains is the saving of souls: a battered Ruigoord-clan-one misses a leg, the other one arm-decides to withdraw the desert even deeper with the bad news, with father and son in tow. Where in the world’s most nerve -racking roads traumas are not even numbing drugs and techno.

Jean-Luc Godard

A rare light note delivers the American Richard Linklater (Boyhood, hit man) of Nouvelle Vagueabout film journalist Jean-Luc Godard who in 1959 everyone was despair on the set of his groundbreaking film debut À bolt de souffle. He showed how exciting it is to break with all the rules. Linklater reconstructs that in a very accurate historical detail, without pontizing or to fall into caricatures such as Le Redoutable (2017) did, in which he probably puts Godard just as a handy brush. Nouvelle Vague Shows with love, respect and humor how Godards self -willed rebellion changed the world. It will be too witty and lucid for the big film prizes: you laugh at home.

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