The article was published in the July 22 issue of The Video Comment Letter, our free weekly newsletter with criticism and original video writing. Sign in to Letter Pano.
Memory (Apichatpong Weerasethekul, 2021)
With his sixth ability to set the vibe for his films and the explosion of pop festivals, Sean Baker delivered Cannes’ best final song to begin with. Red Rocket, his first entry in the official competition of the festival. NSYNC’s “Bye Bye Bye”, a soft translation of the ending drama, vividly recorded by many journalists and critics who heard it over a week ago in Cannes’s first COVID-19. On the 11th, Thierry Frémaux, General Delegate of Cannes, successfully announced that of the thousands of PCR tests performed throughout the ceremony, only 70 were found to be optimistic. As a result, in the midst of a new wave of epidemics, with the Delta nation hitting the hardest in most European countries, Cannes was able to prevent it from becoming a very widespread phenomenon. In addition, filmmakers like Paul Verhoeven, Ryûsuke Hamaguchi, and Wes Anderson showcasing great new works, and Apichatpong Weerasethakul showcasing what could be an annual film (more on this at the end of this post), the festival seems to offer ample reason to rejoice. As a result, in the last days, following the NSYNC, the plaintiff only decides to have a PCR test every 48 hours, because of the confusion over the results of the experimental results to get more and more diagnostic results, and to follow a global celebration. and new normal aseptic rules.
Red Rocket presented itself as a distraction: a film driven by the purest of songs — pop music, rom-com subplot, deep sympathy for its characters — but completely immersed in the evils of burning oil. And it is not that the oil and gas station around Texas City, the site of the film Galveston County, is like the bad reputation of the film’s anti-hero, Mikey Saber, the returning porn star. at home to be warmly welcomed. Saber (played by Simon Rex, an MTV VJ actor who became a former actor in the major television companies) represents the film social chiaroscuro based on the roles of the victims and murderers. It is not hard to find a person who is supportive of the person, whose intellectual charm and skill – can join the Safdies – make him a star of the poor, the carefree. But things get worse when the Small Group — a small donor of the Donut Strawberry store, recently introduced to Suzanna Son — awakens the Big Bad Wolf in a lucky Saber.
Red Rocket It may not be Baker’s best performance – the plot twist feels a bit smaller compared to what he did in the past – but his desire to get into the trouble of those who did it and find ways of redemption and co-operation that made the film so popular. (Baker gets extra points by throwing a surprise at Judy Hill, Roberto Minervini’s star What Will You Do When the World Is on Fire?, as the king of local medicine).
The average of the nominees was Bruno Dumont France, a new twist on his late French auteur career of folly and dignity, as well as following his well-known songs dedicated to his childhood and the trial of Joan of Arc. Dumont’s new martyr, popularly known as France de Meurs (played by Léa Seydoux), is a magician who fell out of favor and woke up to the ban on his life after hitting a motorcycle driven by a North African heartbroken boy. it is difficult to learn. In a spectacular pirouette, chameleonic Dumont showcases the humorous nature of modern media – based on the politics of Armando Iannucci – as well as the stunning drama that follows in a long shot of Seydoux struggling to look up. camera. The soap opera meets these new religions (and it seems to be the end, 134 minutes) at the Stations of the Cross.
The last days of the festival formed a group of men with unstable minds. Caleb Landry Jones received the Best Actor award for his role in Justin Kurzel’s Nitramu, the story of a well-known child who caused the 1996 assassination in Port Arthur in Tasmania. Missing in his celebration of the young sociopath and his unemployed family, this Australian gun culture trend made me miss the years when Cannes honored Gus Van Sant’s secret, mysterious films, commemorating violent deaths: Njovu (2003), Last Days (2005), i Paranoid Park (2007)… those were the days!
In my opinion, the Best Actor award would have been well suited to Damien Bonnard, who has always demonstrated his athleticism and audience for films such as Alain Guiraudie. Being Standing and Ladj Ly He warned. Now, in Joaquim Lafosse’s Unstable, Bonnard emerges as a steady natural force as an artist suffering from bipolar disorder. Reaching out to her steady joy as she struggles, Bonnard is the jewel of a film that seeks to change form, the immovable landscapes of John Cassavetes and Maurice Pialat but are black-and-white – a great artist. – in his dichotomies. In any case, Lafosse attempted to explore the unchanging nature of human nature and nerves, in contrast with Ildikó Enyedi’s monotonous. My Wife’s Story, based on the 1946 edition of the same name by Hungarian author Milán Füst. Reflecting on the mindset of the laconic sea captain (played by Dutch actor Gijs Naber), the film, co-produced between Hungary, Germany, France, and Italy – reminds us of the ugly Europudding, the words that were made. in the 1980’s the sarcastic remarks of money-making films and stars from a number of European countries, which led to the dissenting activities of any kind.
As the bright but uninteresting Enyedi drama shows Cannes’ s official competition, zenith arrived on the 10th and Memory, a film in which a long, steady, two-dimensional picture of a two-person conversation — in just a few words — can encourage an audience to express themselves clearly. At the end of the intimate spread there is no small part of her magic due to the dedication of both Tilda Swinton – who (below) plays as a confused and miserable British woman in Colombia – and Elkin Díaz, the world-famous winner. working as a very calm person who can remember “everything.” (Some critics have described him as a shaman.) I must add that, although the structure is not a distraction from these memorable events, the song is influenced by a myriad of voices from different eras, some of which are inaudible.
Sound has played a vital role in Apichatpong’s poetry, and Memory highlights her beauty, her appearance, her story, and her ideas. In fact, the “plot” of the film can be summed up in a single word: the story of a woman looking for a source and the meaning of a mysterious noise – an explosion – that seems to take place in her head. In a spectacular display at the sound system, he described it as “a concrete ball falling from a metal shaft surrounded by salt water” and “a collision from the center of the Earth.” Several of Cannes’ colleagues have said so Memory can be read as an Apichatpong take on all of Steven Spielberg Close Third Party Meetings and Terrence Malick The Tree of Life, although I would argue that a Thai filmmaker contradicts the ideology that originally held the religious doctrine of the latter. Spiritual follow-up to Jacques Tourneur’s I walked with a Zombie, and Swinton embodies the lost soul of Christine Gordon’s Jessica, Memory and the most restrictive and concise work of Weerasethekul to date. The beautiful scenery, pop fugues, the famous intertitles, and the fascinating creatures that fascinated her with her past works seem to have ceased to be here alchemy of mise-en-scène as well as simple words.
Featured on MemoryThe statues, wonderfully crafted of urban tables and rural frescoes, the only non-Apichatpong film I remembered as my first view of Jacques Tati. Playtime. In a most reliable way, Memory celebrates the magical part of reality and the same fearlessness that Tati experienced in the face of all humor in human affairs. As far as virtual minimalism is concerned, Apichatpong transforms everything around it – genetics, dialogue, space – into endless sources of words, political commentary, surreal forms, and means of communication between all objects.
Manu Yáñez Murillo is a Barcelona-based film critic and student who has been a supporter Video Comment since 2006. He is the chief editor of the Otros Cines Europa website and an anthology editor. The American Gaze: 50 Years of Filmmaking.
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