Venice Film Festival: Cuaron frees itself from the success of "Gravity" and Assayas bites nerds in crisis – Cinema



In "Roma", one of the three Netflix productions that take part in Venice, the Mexican filmmaker returns to earth to pay tribute to the servant who spoiled her during her youth. As far as the French director is concerned, as a virtuoso he elevates the contemporary chaos of the world of art and culture in "Doubles Lives", with Juliette Binoche and Guillaume Canet.

Netflix attack! The American company, whose productions were refused in Cannes this year, due to lack of distribution in cinemas, is entering Venice with no less than three feature films in the competition. Meanwhile, in particular, the new film of the Coen brothers (The Ballad of Buster Scruggs), it is up to the Oscar-winning Mexican filmmaker Alfonso Cuarón to present Roma, which marks the return to achievement, five after the global triumph of Gravity.

Invisible heroine

The title is both misleading and suggestive: if Roma is in fact a district of Mexico, the style of the film, its black-and-white and its protagonist, a young servant battered by life, refers to Italian neorealism. Alfonso Cuarón describes in the course of several months Cleo & # 39; s daily newspaper, which serves a Mexican middle-class family in the 1970s. A family whose director is no secret that he was his: a doctor, father in the leaving his wife, who will fall into a depression, and four children who are not under control.

This maturity film seems to be a first novel through its simplicity, its litany of tragicomic anecdotes, the evocation of a family oath on the verge of disruption. Alfonso Cuarón sometimes has a heavy hand, especially when dealing with symbols. But her way to overthrow the social hierarchy of the past, by choosing an invisible, good home, as a true heroine of her first autobiographical film, is not without interest.

A terrible time

Netflix in the heart of the oldest film festival, is the emergence of digital in a sanctuary of creation, the new world that grows in the middle of the old. Well that is exactly the subject of Double lives, by Olivier Assayas (also in competition). A vaudeville filmed as a shadowy spy thriller, and established in the publishing sector, in turmoil. Art and culture change rapidly and those who live do not know where to turn. The boss in search of a new breath (Guillaume Canet), his wife actress series astonished (Juliette Binoche), the writer dedicated to autofiction (Vincent Macaigne), his companion press secretary of a political (Nora Hamzaoui): This quartet inspires Olivier Assayas to formidable variations on our time – betrayal of everything, strategic adultery, secret collusions …

Doubles life with Guillaume Canet and Juliette Binoche

Double Lives with Guillaume Canet and Juliette Binoche

© Ad Vitam

Against a background of digitization of the world, and through impressive verbal jousting, alliances are created, hugs are broken. It looks like a continuation of it End of August, beginning of Septembertwenty years later, where everything would have turned sour. Without fear of playing unpleasant characters, the actors, Canet and Binoche, sparkle in the lead. There is also a sharp sense of humor and a sense of ridicule that has never been claimed in the work of Assayas.


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Venice Film Festival: Cuaron frees itself from the success of "Gravity" and Assayas bites nerds in crisis – Cinema



In "Roma", one of the three Netflix productions that take part in Venice, the Mexican filmmaker returns to earth to pay tribute to the servant who spoiled her during her youth. As far as the French director is concerned, as a virtuoso he elevates the contemporary chaos of the world of art and culture in "Doubles Lives", with Juliette Binoche and Guillaume Canet.

Netflix attack! The American company, whose productions were refused in Cannes this year, due to lack of distribution in cinemas, is entering Venice with no less than three feature films in the competition. Meanwhile, in particular, the new film of the Coen brothers (The Ballad of Buster Scruggs), it is up to the Oscar-winning Mexican filmmaker Alfonso Cuarón to present Roma, which marks the return to achievement, five after the global triumph of Gravity.

Invisible heroine

The title is both misleading and suggestive: if Roma is in fact a district of Mexico, the style of the film, its black-and-white and its protagonist, a young servant battered by life, refers to Italian neorealism. Alfonso Cuarón describes in the course of several months Cleo & # 39; s daily newspaper, which serves a Mexican middle-class family in the 1970s. A family whose director is no secret that he was his: a doctor, father in the leaving his wife, who will fall into a depression, and four children who are not under control.

This maturity film seems to be a first novel through its simplicity, its litany of tragicomic anecdotes, the evocation of a family oath on the verge of disruption. Alfonso Cuarón sometimes has a heavy hand, especially when dealing with symbols. But her way to overthrow the social hierarchy of the past, by choosing an invisible, good home, as a true heroine of her first autobiographical film, is not without interest.

A terrible time

Netflix in the heart of the oldest film festival, is the emergence of digital in a sanctuary of creation, the new world that grows in the middle of the old. Well that is exactly the subject of Double lives, by Olivier Assayas (also in competition). A vaudeville filmed as a shadowy spy thriller, and established in the publishing sector, in turmoil. Art and culture change rapidly and those who live do not know where to turn. The boss in search of a new breath (Guillaume Canet), his wife actress series astonished (Juliette Binoche), the writer dedicated to autofiction (Vincent Macaigne), his companion press secretary of a political (Nora Hamzaoui): This quartet inspires Olivier Assayas to formidable variations on our time – betrayal of everything, strategic adultery, secret collusions …

Doubles life with Guillaume Canet and Juliette Binoche

Double Lives with Guillaume Canet and Juliette Binoche

© Ad Vitam

Against a background of digitization of the world, and through impressive verbal jousting, alliances are created, hugs are broken. It looks like a continuation of it End of August, beginning of Septembertwenty years later, where everything would have turned sour. Without fear of playing unpleasant characters, the actors, Canet and Binoche, sparkle in the lead. There is also a sharp sense of humor and a sense of ridicule that has never been claimed in the work of Assayas.


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