2023-05-23 15:55:45
As expected, The Zone of Interest by Jonathan Glazer is an immense film, a work rarely seen in the life of a cinephile.
In Cannes, the days pass and are not alike. There are of course the parties, the marches, the whirlwind of Cannes life, but above all a stunning selection of films, and sometimes real cinema proposals. Like the long-awaited The Zone of Interestthe new Jonathan Glazer, little genius of the cinema, polisher of four diamonds in twenty years: Sexy Beast, Birth, Under the Skin and today this Zone of Interest, inspired by a novel by Martin Amis, who died the day of the screening. This area is a little corner of paradise, it’s a cozy house with a magnificent garden which adjoins the Auschwitz camp. In this house, Glazer exposes the daily life of Rudolf Höss, commander of the concentration camp, a genius of mass extermination, his pragmatic wife and their children. School, swimming, gardening, family meals, the swimming pool, the dog-dog… From the camp, we will only see a wall, or barbed wire at the top of the frame. We will see nothing but we will hear everything: the deafening noise of the ovens, the howls of the Jews, the cries of the Nazis, the explosions in the night, the muffled horror which rumbles… Very quickly, the spectator is caught up in the continuous roar which spins the head and the belly, and the off-screen that devours the film and the world. It’s unbearable and every moment of this daily life placed under the sign of repetition and banality sends us back to our own indifference. Talking regarding a masterpiece may not make a lot of sense, but once once more, Jonathan Glazer offers us a radical experience, a film as few see in the life of a cinephile. I don’t see how the Palme d’Or might escape him…
THE ILLLY CLOSED WOUNDS OF TODD HAYNES
The other brilliant success of Cannes is the new Todd Haynes, May December. For the needs of a film, an actress (Natalie Portman) meets her model (Julianne Moore), a neurotic woman, at the origin of a transgressive passion with a 13-year-old child. The past that eats away at the present, the simulacrum, the lie, the false pretenses, Todd Haynes signs a fascinating, complex, mirror work. We often think of Bergman, while Haynes incises the psyches and the poorly closed wounds that poison the present. It’s virtuoso and vibrant. Like a heart racing a little too much. And above all, he directs two exceptional actresses. Julianne Moore, of course, and Natalie Portman who had compromised herself in films unworthy of her talent. As a vampire who feeds on the lives and feelings of others, she is simply extraordinary. The interpretation prize is already waiting for him in the warm.
We end with the disappointment of the year, the new Martin Scorsese, Killers of the Flower Moon. Shot for Apple, it’s a 200 million luxury TV movie (where the money went), which hesitates between western and thriller. De Niro plays a very nasty villain with conviction, DiCaprio plays around and imitates Brando by advancing his jaws as in The Godfather, and Scorsese gives us a highly relevant message over almost four hours (feels like eight!): men are bad, capitalism is the devil. Beyond the industrial accident!
The Zone of Interest – Prochainement
May December – Shortly
Killers of the Flower Moonout October 18
SENTENCE OF THE DAY
« French cinema is very diverse but I find that the overwhelming majority of what happens sucks. You have to be honest, it’s merchandise. »
Arthur Harari in L’Obs
By Marc Godin
1684872568
#Super #Cannes #palm
