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desistfilm

Cannes

CANNES 2017: L’AMANT DOUBLE DE FRANCOIS OZON

Por Anne Wakefield Hoyt

Aunque puedan parecer gratuitas o efectistas, cada una de las elegantes imágenes que nos presenta Ozon tienen justificación psicoanalítica. Por ejemplo, la extrema intimidad que se establece durante el tratamiento se equipara sólo a la que se puede tener con una pareja. Es decir, en términos síquicos, el terapeuta se convierte esencialmente en un segundo marido o amante. Es importante entender esto antes de desdeñar por implausible la delirante exploración de la sique femenina que es L’amant Double.

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Cannes

CANNES 2017: THE SAFDIE BROTHERS VS LYNNE RAMSAY

By Mónica Delgado

The sense of rhythm towards action defines the identity of Good Time, film by Benny and Josh Safdie, but also of You Were Never Really Here, by Scottish filmmaker Lynne Ramsay, both films in competition in this recent Cannes and that share many elements in common.

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Cannes

CANNES 2017: DIRECTIONS BY STEPHAN KOMANDAREV AND OUT BY GYÖRGY KRISTÓF

By Mónica Delgado

The Iranian film A Man of Integrity, by Mohammad Rasoulof has just won Un Certain Regard, and since it’s a film that we didn’t watch, we can’t really judge the jury decision or the film itself. However, we highlight two Eastern Europe films presented in this section which were interesting enough (but inferior to last year’s Câini, by Bogdan Mirica or Sieranevada, in the official competition) and had particular universes which we describe here.

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Cannes

CANNES 2017: LA BOUCHE BY CAMILO RESTREPO

By Mónica Delgado

La bouche keeps a risk that has characterized the style of the Colombian filmmaker, and that is affirmed here through the use of 16mm and the continuity of an aesthetic, that many assume as “guerrilla film”, and that in Cilaos or La Bouche is centered in the choreography and a body sublimation of rhythm. This is a film of formal affronts that may have gone further than the other short films presented in the Quinzaine.

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Cannes

CANNES 2017: THE NOTHING FACTORY BY PEDRO PINHO

By Mónica Delgado

A fábrica de Nada, presented in the Quinzaine de Realisateurs, speaks about something no other Cannes film has mentioned: the reality of a Europe that screams for a life jacket, but not because of migration or racism issues, xenophobia or bourgeois indifference; where the only exit is renouncing the world we live in, coped by the result of this economical system: nothingness.

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Cannes

CANNES 2017: THE BEGUILED BY SOFIA COPPOLA

By Mónica Delgado

The greatest merit of The Beguiled lies in how Coppola constructs the relationships between women, through silences or simple and suggestive dialogues that avoid evilness, and bets for an atmosphere of power plays, where the photography unveils this darkness that the actions repress or hide.

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Cannes

CANNES 2017: THE DAY AFTER BY HONG SANG-SOO

By Mónica Delgado

In The Day After, one finds some subtle transformations on the narrative strategies of Hong Sang-soo had patented throughout his filmography: variations on a same theme or occurrence, where the narrator has the ability to return to a previous scene to revisit it, thus originating a double lecture of what could have been.

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Cannes

CANNES 2017: LA FAMILIA BY GUSTAVO RONDÓN CÓRDOVA

By Mónica Delgado

It’s impossible not to see La Familia from the political, social and economic crisis that Venezuela is suffering in the last years. However, Gustavo Rondón Cordova isn’t looking to make a social diagnosis or any kind of critique to the present regime in his first feature film.

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