Thursday , September 29 2022

Critics of Hugues Dayise with "Kursk", Russian tragedy with Matthias Schoenaerts


On 12 August 2000, the Russian nuclear submarine "Kursk" exploded. Craftsmen prisoners who are on the bottom of the Barents Sea will fight for their survival by twenty-three sailors …


At that time the Kurka tragedy moved the international community. Because human tragedy quickly became a political scandal. When the Russian army encountered obvious rescue difficulties, other entities such as the Royal Navy wanted to help save lives, while there were so many. But having a reasonable means of rescue was only one step, yet it was necessary to overcome the proud reservations of the Russian General Staff …

Matthias Schoenaerts had the idea to design a film script for Danish filmmaker Thomas Vinterberg (both men became very accomplice when shooting the English classics "Far from crazy crowns" by Thomas Hardy). Director "Festen" and "Hunt" are trying to reconstruct the various dramas that are being played simultaneously: in the subway, of course, but also on the mainland, where sailors' families are authorities to act quickly. The most successful part of his film is probably when the diplomatic battle between the naval officer (Colin Firth, impeccable) and the Russian High Officer (Max von Sydow, early 1990s) becomes old for the role. On the other hand, the weakest part – because the most agreed – is the family aspect: look, Lea Seydoux plays a brave woman of a Russian sailor, anxious and eager for answers, adjacent to ridicule …

The main problem is that Vinterberg is struggling to bring this great patchwork to consistency and dramatic fluency. Given that "Kursk" looks like "Europudding," a big European film that, in order to win a big budget, brings together producers from different countries who have a "vision" of their film and casting. "Europudding" is a film in which actors from all over Europe play in the "basic english" dialogue, which will then be dubbed in different languages. The result: see the Belgian Schoenaerts, Swede Sweden von Sydow, French Seydoux, Austrian Peter Simonischek (revealed in "Toni Erdmann") is trying to embody English-Russian protagonists, it does not work. And Vinterberg can call Soviet folklore and Orthodox songs to create a "local color", the result remains fragile. He would probably need the resources and virtuosity of Mr. Paul Greengrass to make the Kursk tragedy a great movie. Here, unfortunately, we are far from it.

Impossible love

French province of Châteauroux in the late 1950s. Sara, a young secretary, falls in love with Philippe, a translator, son of a good family. Idila was born, but very quickly, Philippe tells Sarah she will not get married – especially with a girl so modest. Sarah gets pregnant and the baby gets up, Chantal. Philippe leaves Châteauroux to Paris, attending the mother and her daughter from time to time. Each time Sarah tapes her nails; she wants only one thing: that Philip knows his daughter is not born "from an unknown father". A battle that has been exhausting over the years …

"Impossible Love" is the adaptation of Catherine Corsini's autobiographical novel Christine Angot. The film respects the narrative in the first person; it is Chantal who tells the story of his parents. Virginia Efira, a great fan of the novel, has shown all her persuasion forces to take on the role of Sarah, while her cheerful figure does not intend initially to embody this frustrated woman who spends her life to cover her emotions as a dignified and dry attitude. She is doing nothing more than her partner Niels Schneider in the role of Philippe. Where the friction is the side of the young actresses who embody Chantal in different age categories; none of them brought dramatic and dramatic intensity of character. This is unfortunate, because in the second part of the film the role of Chantal becomes crucial … The result is an imperfect film that moves only intermittently.

Happy as Lazzaro (Lazzaro felice)

Lazzaro is an "idiot of a village" in a small Italian settlement far from civilization. Its inhabitants, thanks to ignorance, stayed beneath Marquise's thumb, which benefited them. Lazzaro is good and without anger; in summer with the permission of the son of Marquise … The friendship that makes it like a spell changes the times: Lazzaro ends up in the suburbs of the modern metropolis and extends his joy of living near the fourth world family …

"Lazzaro Felice" competes in Cannes; the film won the screenplay award. Her director, Italian Alice Rohrwacher, has won the Grand Prix Jury with her previous Les Merveilles. In other words, it's popular on Croisette. And it's a thick secret. If, for one part of the criticism, his cinema is intensely poetic, the second one I've been involved in, you understand – it's a difficult humility. What's more, Rohrwacher prides himself on filming Super 16, which gives his films a pitiful picture. "Lazzaro Felice" is a poorly lit, ill-framed, ill-shot, fantastic parable about the film's abscess and boredom. This kind of imposture has its name: it's called intellectual terrorism.


Yves Saint-Laurent was nicknamed "The Little Prince of Fashion". Alexander McQueen was called "Baby Horrible". This little man from East End, the son of a taxi, quickly climbed the ladder: learning to sew at Savile Row, creating his own collections without money and recycled materials, organizing shows unlikely places, is known Isabella Blow, a fashion poppy in Britain. Then he is hired by entrepreneur Bernard Arnault to make a facelift at the Givenchy home in Paris. He becomes rich, paranoid, and cocaine … When his own brand "McQueen" emerges after the Paris adventure, he is famous all over the world, but increasingly lonely and depressed … Until suicide, 40 years, 11 February 2010.

It's the way – the rise and decline, unfortunately so common in the show business that Ian Bonhôte and Peter Ettedgui tell in their documentary. You do not have to be a fashion specialist who understands the ancient contraction shock that McQueen has created with his space universe. Pictures of the archives and testimonies of all his relatives allow directors to create a rich portrait of the character. It is a shame that the film exploits the humorous music of Michael Nyman and sometimes pours into unnecessary visual coquetry that supports the stylist's creations, which in fact is sufficient in itself … But the film is still interesting.

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