“When will this dreaded movie end?” It is a question that often wanders at the Cannes Film Festival, where an hour is bleeding in an hour, the film is bleeding in the movie, and by the ninth day or so, it can take a good image of the quality test quality. A character on the screen rarely hears already expresses feelings loudly. In Richard Linkelter, actor Jean Seburg (played by Zoe Dicch) during the end of last week, which was presented by actor Jean -Serber (played by Zoe Dicch) during the “Informed” production period (1960), which is the first feature run by the young criticism preserved by the young young man who was celebrated by the young man who was celebrated by the young critic who was celebrated by the young critic. The preserved, which is the first to be managed by the young, preserved criticism, which is the first advantage of the young reserved criticism, which is the first feature of the preserved young criticism, which is the first feature of the young criticism fraught with the celebration, which was carried out by the young criticism fraught with the celebration. Jean Luke Godard (Marbec clouds). In time, of course, the final film will become a sensation; This will help ignite the new French wave, revolutionize the means and capabilities of independent filmmaking, and to turn Godard into a cinematic icon, and descend as one of the greatest and most influential in the history of the film. She will also become the best work in Cyberg, after her death in 1979.
But none of this has passed yet in “mysterious” nouvelle “, and Linklater, frankly, refuses to look at this ivory moment through a perspective after it is too late. It is in 1959, and Speerg, a hesitant participation from the beginning, spent a lot of shooting at Godar and “breathless”, among them, from her trained raw in Hollywood, looks like a tense foolishness. Production does not spread any groups, no artificial light, and no simultaneous sound. There is just a girl and a rifle, as well as a gang, played by Jean -Paul Belmondo (Auberi Dalin), who takes into experience with Joy de Fever that Cyberg cannot mobilize. Goddard does not have a text, and instead works from a treatment by his companion Francois Travao, as well as one of the ideas that come to mind before and during the shooting; Whenever the inspiration is dry, production will wrap this day. It is saddened by the pursuit of continuity to the scene (“reality is not a continuity!” He is one of many proverbs in which he barks on his collaborators) and has no benefit to the store’s concepts about the cohesion of stories.
“Nouvelle is mysterious”, on its part, it has a cohesion in the gastone. It is a movie behind the scenes by Hangout comedy, and it has been conceived to make the maximum slip. Linklater mimics a vibrant appearance of “Treeples”: filmed, by David Chamille, in white and white and in the ratio to the height in the academy. But its smooth and modified rhythms with their own accuracy, and the editor, Catherine Schwartz, avoided any hint of the mockery of Godardine; If there is a jump anywhere, I miss it. All in all, Linklater set itself a wonderfully contradictory task. He has done an ideal entertainment for a project whose victory was fully rejected by the plan and the flour-a film that participates in the kinetic and spontaneity of “panting” without, in the end, and it is completely achieved. But within this contradiction, Linklater and its representatives, most of whom are new arrivals, are wondering from work – nothing more than Marbeck, which makes, through the sound -controlled sounds alone, amazing Godard. He looks forward to the world through dark shadows, and discourages the cold man’s cold with a feeling of playing as harmful. This is a noticeable narration with nuts and tiles, which carries along with an irresistible comic speed; At any time, I wanted to end.
The new GODARD colleague Jack Revit – one of the cinema feniers linking the drama character, including TruefautÉric Rohmer, Jean-Pierre Melville, Roberto Rossellini, Robert Bresson, and Jean Cocteau-which suggested that each movie be a documentary film for making it. A picture like “gasket”, where Godard gave images of American gangs, provokes a tremor of instant fairy tales, highlighting that epidemics say more clear than most of them. Although it casts the mind in the national switch to imagine what the documentary appears to be about the manufacture of “mysterious Nouvelle”, the real world is largely present, as it overlooks each black and white frame. But then, there is always in Linklater movies, which gently insisted on realism as a decisive ingredient in imagination. One of my glass experience was roaming at the Cannes Festival this year was seeing the Cannes Festival itself in an early period of “mysterious” Nouvelle “, when Godard and his friends attend the 1959 festival for joy at the first show of the private Trufaut programming,” The 400 Blows “. If they have any acknowledgment that they will be topics for a film playing at the bottom of De La Curobe Street, after sixty -six years, they do not show it.
At the press conference at the Cannes Vague Festival, a Linklater journalist asked about his ideas about President Donald Trump’s recent announcement of a hundred percent tariff for films that were made outside the United States, “This will not happen, right? This man changes his opinion like fifty times in one day.” One hopes that Linklater will be right, and that this next proposal is not only to make the president’s irregular decisions but also on the possibility of implementing something that is not defined in a logistical standpoint. However, I thought about Trump’s tariff when we wiped the Cannes Festival this year, which, as it was always, was stacked with joint international production in each section. I also thought about Godard and Linklate and the cultural pollination that flourishes in a healthy cinematic state.
“Anfast” translated Godard’s love for American popular culture, from other things, into an unambiguous, amazing, and widely accessible expression. “Nouvelle Vague” seems to be a mutual advice from the hat – the framing of the American director covers the completely loyal Valentine’s Day of Guudard and the permanent legacy of the new French wave. (It is also the first Linklater movie that is filmed in a language other than the English language. But the most obvious facts are sometimes worth repetition when hostile forces try, as they review themselves in the false works of works and economics, to put strangulation on art.
“The highest 2 minimum,” written by me.A picture of David Lee / Di -Kan
“Nouvelle Vague” is not the only picture at this year’s festival that arises from the love of the American director of film director from abroad. Monday night brought the first global show Spike me“The highest 2 minimum”, which is intelligently sowed the crime drama Akira Korosawa of 1963, “High and Low”, from Yokohama to New York City. (Corosawa itself was loosely quoted by “”The king’s ransom“The 1959 novel by ED McBain; interrupted cultural use continues in the section. King is forced to determine whether the respectable thing should be done, even if it destroys it financially.
The preparation of music naturally leads to all kinds of questions about artistic integrity, the commercial medium solution, the impact of artificial intelligence and the harmful effect of social media on the besieged entertainment industry. The conversations fall sharply, often educational, but me and his representatives (including Jeffrey Wright, Elvinch Hadira, and rapper A $ AP Rocky) show that it is not just the future of the world of music at stake. Cinema works are vulnerable to the same pressure, and the same tendencies to determine the priorities of technology, efficiency and noise on humanity and art. While the king moves his moral dilemma, not only responds to the movement of conscience and volatility of public opinion. In Washington’s fun, exciting and emotional performance, one of his best in modern memory, we feel the sharp yearning of King to re -call the music that we have seen years of success.
Since “the highest highest is less” is treated at the end of the non -decisive businessman as a hero, as he put our identity directly with him, the film does not achieve the live social panorama of Corosawa’s most achieved works, and tragicly expansion. However, the feeling that surpasses Lee rich, frantic, and apostating to New York’s life, gives the familiar story a great moving energy. The director’s approach is customary that the sequence of a tense chase, which begins on the subway train before spill and exit to the traffic in the streets below, is complicated, and finally sunken, through the celebration of the day of Puerto Rico Bertorican, which is taking place in the vicinity. The other great contribution to me is his deep understanding of music: great hip -hop numbers in the plot, and one tense, brilliant confrontation, in the registration studio, makes a small part of the glass, a lifetime, layer, wealth, privilege, and experience. Here, the forces of art and trade reaches a dead end – as they do every year at the Cannes itself.
“I die my love” by Lin Ramsey.Same De Cannes Festival
Of the twenty -two films in the competition for the Bali or other awards at the Cannes Festival this year, “Die My Love”, a fierce image of marital rift from the Scottish director Lyn Ramsey, is the most honest. No, really: the fly is one of the main supportive characters. He is one of the many excuses who sent to the fragile psychological chance (Jennifer Lawrence’s amazing brutal), and she is a violent unusual housewife Montana violently and she is married to Jackson (Robert Pattinson) and a mother of her newborn son. In an early sequence, Grace, where she visited her mother -in -law (Sisi Spac, luminous from ever), SWATS and Swats in that fly but could not kill her. Its demons are proven difficult to determine.
“Death My Love” has been adapted from 2019 novel By Argentine writer Ariana Harroch, who was welcomed as a unique image of depression after birth. Ramsey is definitely that, but barely alone. Grace’s distress assumes many forms and has many reasons, and Lawrence, who has not had a severe role since the “mother” similar to the mother Darin Aarunovsky “! (2017), throws herself in Grace every deviation. The kitchen is very useful. It causes a bloody surgeon on itself after the other, whether by noise on solid surfaces or tearing the walls of the bathroom with its bare fingers.
RAMSAI is a film director for the undeniable official therapist and an explorer who does not know the fear of psychological rupture. Here, she wanders in the history of Lawrence with a restless portrait, nervous sound design, and time jumps that constantly raise our feeling of what is going on. “Die My Love”, at a level, a chaotic image of the exhaustion of the mother that some of us wanted from Mariel HillerTamir “Nightbitch” (2024). It also seems to be a natural companion of Ramsey seed drama in 2011, “We need to talk about Kevin”, even if Grace’s child was a completely good seed, which is one turning point on her miserable emotional scene. From start to finish, ramsay and lawrence – which means, form and content – in conjunction, albeit, to the rapidly hated ends. At a certain stage, he was forced to get to know Grace’s tormentor, the legal author of all her pain, one must refer to the child, or Jackson, but the director himself.
