Cannes: A master at the top of his art, the other less
The days are long and the nights are short at the Cannes Film Festival. Thursday night, I declined two invitations. The lifting of the body was still difficult Friday morning. The new Ken Loach served as motivation. The venerable British director is looking for a third Palme d’Or and he is at the top of his game. Sorry We Missed You, a family drama touching on the mental charge, will have its chances. A real gem.
Have you ever felt that everything is spinning? Because the accumulation of problems, big and small, becomes insurmountable? Because work (more and more precarious) encroaches on family life and the resulting guilt makes you less productive?
Loach ( Me, Daniel Blake ) illustrates with great empathy in his feature film. “You do not even need a boss to lash out. It is the worker who exploits himself. It is capitalism that continues to function as it has always done, “the filmmaker explained in a press conference.
It all started with a good intention, that of Ricky Turner (Kris Hitchen) to offer a better future to his wife Abby (Debbie Honeywood) and her two children, Seb (Rhys Stone) and Liza (Katie Proctor). The family struggling to make ends meet, he became an independent contractor for a parcel delivery company. No benefits, only expenses. And a supervisor who presses the lemon in the name of holy productivity.
Abby works as much as he does, as a home attendant for people losing their autonomy. A busy job, both physically and mentally. “They are women who do not have the recognition they deserve,” says his interpreter.
Forcibly, and even if they do not wish, the duo residing in Newcastle neglects his children, despite all their efforts. The oldest dries courses to graffiti. The youngest suffers from their absence. Gradually, the couple disintegrates. They are overwhelmed and wonder how they got there.
Since his beginnings, Ken Loach has been on the same pinch of social inequality by staging authentic people (with amateur actors), blue-collar or middle-class, who try to avoid being crushed by the accursed machine.
Which earned him so many accolades of the Festival. “He came so often that we should give him citizenship in Cannes,” joked the moderator of the press conference. Indeed .
Ken Loach is a master whose considerable work commands admiration.
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Pedro Almodóvar is also an invaluable filmmaker. It was hoped that Pain and Glory could correct a great injustice: the Spanish director has never won the Palme d’Or. And it will not be this time again with this complacent and narcissistic autofiction on an aging filmmaker. His sentimental drama has garnered only meager, polite applause Friday at the press screening. There is nothing worse than indifference …
Almodóvar (Talking with her) manages to save a little bit of her melancholy story of boredom by two-thirds. My neighbor, who was snoring copiously, obviously did not have the patience.
Of course, everything is superb and filmed with the elegance we know him. But unless he is an unconditional, seduced by the mise en abyme and winks that ensue, difficult to attach to his alter ego (Antonio Banderas).
This man suffering from pain passes through his old age without glory and great consideration for others, anesthetizing with the heroine to relive his childhood (and themes dear to the filmmaker: the mother, Catholicism, the awakening of desire …) .
There is nothing wrong with contemplating the past. As long as you use it to move forward.