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The Film Review OF “Peciifiction” | Cannes 2022

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Albert Serra (‘Liberté’) competes with the story of noir regulated in a contemporary French Polynesia, starring Benoît Magimel.

The good news is that the chest, the latest features of Auteur Catalan Albert Serra, who was only in his 40s but pointed like a great old man from Avant-Garde in the 1960s, was quite watched, even driven by the plot-for the film Serra Serra– For the film Serra Serra-for Serra Serra, the film Serra-For Serra Serra-For Serra Serra, the film Serra-For Serra Serra-For Serra Serra Serra-.

It has a pleasant central performance from Benoît Magimel and the Spectacular Location of Tahiti. There is even a surfing scene, the nearest Serra may have received a sequence of action. On the other hand, this is still a 162 minute slog. And the plot mentioned above is a creature that is highly weakened, lethargic, telling a murky story – in all things – about political intrigue and the struggle for the power of the city that refuses to be resolved or reveal the mystery in the end. This is like the Polynesia version of Chinatown but made by the gips and crew is pelted with rum and ketamine. Forget, Jake, that’s Papeete.

High eyebrow viewers who like Serra have tended to dig fresh turns to date as well as the period of durability, such as the stories that preceded my death story about Casanova, this is clearly the death of Louis XIV and Aristos-Dogging-in-Coros Porn Liberté. If this kind of thing is your bag, then it must be seen precisely in a dark cinema to eliminate the temptation to explore social media or drink coffee, which will tempt most people see it at home.

But only the most noble and most purest owner and theater festival and the purest will take the risk of this programming in their line-ups when you can adjust [take calculators] 1.8 Screening of Cannes Tori and Lokita Pacificning Competitors by The Dardenne Brothers to the same Time Slot , or even 2.4 screening from Fogo-Fátu (Will-O’-The-Wisp) which is far more enjoyable, the two-week director’s screening. Do it, as they say, mathematics.

It’s a bit embarrassing because if you take a practical commitment of Troll like Serra to make his films as syrup, muskil, and bourgeoisie-sesibu, they are more attractive than those heard on paper. That especially applies to this one, which is really in something fresh and interesting with his views in friction between the remnants of the French colonialist who are in a focused and calling for further autonomy originating from the native of the French Polinesia, who still There is still somewhat part of France. (This is complicated: Multi-Island collectivity citizens can vote in the French election, but they also have their own president and are officially designated as countries.)

Albert Serra (‘Liberté’) competes with the story of noir governed in contemporary French Polynesia, starring Benoît Magimel.

The good news is Dada, the latest feature of AUTEUR CATALAN Albert Serra, who is only in his 40s but points to a great parent from Avant-Garde in the 1960s, quite supervised, even driven by plot-for that the film Serra Serra -For the film Serra Serra-For Serra Serra, the film Serra-For Serra Serra-For Serra Serra, the film Serra-Fror Serra Serra Serra Serra Serra-.

It has a pleasant central performance from Benoît Magimel and the Spectacular Location of Tahiti. There is even a surfing scene, the closest serra may have received the order of action. On the other hand, this is still a 162 minute slog. And the plot mentioned above is a creature that is very weakened, lethargic, telling a murky story – in all things – about political intrigue and struggle for the power of the city that refuses to be resolved or express mystery in the end. This is like the Polynesia version of Chinatown but made by Gips and crew is pelted with rum and ketamine. Forget, Jake, that’s Papeete.

High eyebrow viewers who like Serra have tended to dig fresh turns to date as well as the period of durability, such as the stories that preceded my death story about Casanova, this is clearly the death of Louis XIV and Aristos-Dogging-in-Coros Porn Liberté. If this kind of thing is your bag, then it must be seen precisely in a dark cinema to eliminate the temptation to explore social media or drink coffee, which will tempt most people see it at home.

But only the most noble and most purest owner and theater festival and the purest will take the risk of this programming in their line-ups when you can adjust [take calculators] 1.8 Screening of Cannes Tori and Lokita Pacificning Competitors by The Dardenne Brothers to the same Time Slot , or even 2.4 screening from Fogo-Fátu (Will-O’-The-Wisp) which is far more enjoyable, the two-week director’s screening. Do it, as they say, mathematics.

It’s a bit embarrassing because if you take a practical commitment of Troll like Serra to make his films as syrup, muskil, and bourgeoisie-sesibu, they are more attractive than those heard on paper. That especially applies to this one, which is really in something fresh and interesting with his views in friction between the remnants of the French colonialist who are in a focused and calling for further autonomy originating from the native of the French Polinesia, who still There is still somewhat part of France. (This is complicated: Multi-Island collectivity citizens can vote in the French election, but they also have their own president and are officially designated as countries.)

The French state is represented effectively here by the High Commissioner of Oleaginous de Roller (Magimel), a long European based in Tahiti. Wearing a graham Greene-anian white coat above what looks like the same tropical patterned shirt every day, De Roller is the Schmoozer’s curved, proficient to tell people what they want to hear to get the way. He was also given to high disquisitions about political science, monologues who, according to press records, were fed to Magimel through earpiece but what he gave with naturalism and amazing ease.

Jumping from island to island, hanging out on its magnificent residence, beach and local diving bar, a liaison de roller between Paris thousands of miles away and key figures on the islands -including indigenous community leaders such as Matahi (Matahi Pambrun), visiting the military Officers such as Admiral (Serra-Regular Marc Susini), and local business owners such as the owner of the night club Morton (Sergi López). Lately, he wants to know whether the French Navy has a secret submarine in an area that carries a prostitute up every night, and is there truth in rumors that they will continue nuclear testing nearby.

This is a clear subject -clearly worrying about the local population represented by Matahi very, especially because the tests conducted in the 1950s made their grandparents full of cancer and children born with birth defects. At a meeting at De Roller’s house (apparently shot at the residence of the actual high commissioner on the island), Matahi made it clear that he would not be overwhelmed by a blithe guarantee from French representatives; He intends to protect his people. De Roller then tried to support support from the local mayor, but it was not clear for what purpose.

Meanwhile, returning to the Morton nightclub, De Roller also helped the Francesca choreographer (Monste Triola) to train club dancers, wear traditional island -islands, creating a show that seems more like a rooster, with real chickens fighting on stage, creating The show is even more like a rooster, with chicken fighting on the stage. (This recording will be the right problem for several certification bodies abroad, such as the UK, because of the law on the cruelty of animals.) When they do not work on stage, the dancers and staff are also floating around the club that entertains the people Guests on the most minimal white bikini for women and backs for men, and there is a DJ woman who plays the most boring EDM that can be imagined (the score is by Marc Verdaguer and Joe Robinson) while topless.

One of the most interesting supporting characters in this film is Shannah (Pahoa Mahagafanau) who is stunning, who dressed like a woman but was born a man, the third gender identity that was widely accepted in Polynesia and called Raerae or Mahu. At first a receptionist at a local hotel, Shannah came to play an increasingly important role throughout when she captured the eyes of the high commissioners and they became close, although it was unclear whether they were lover, or what happened between Shannah and other drugs foreigners mentioned Portuguese (Alexandre Melo).

Either way, Shannah is here to burn and bring encouraging cat energy to the film, always reacts to what is said. He almost became the audience who stood when he shrugged his shoulders, not sure what happened to himself, a picture of confusion.

The film was reportedly taken during Covid in 2021, which might explain some of the nuances of distance to the atmosphere, and it seems to be the first feature film taken on a small Canon black magic pocket camera. There is no doubt that this tiny digital rig maintains production costs in several ways, but to be honest, cinematography, which is supervised by DP Artur Tort, is somewhat disappointing considering how photogenic landscapes are photogenic. This allows the most film in the night scene, which does look low budget and like a snapshot.

If this review has not yet made it clear, the editing is deliberately, pig-headed is slow and protracted. But you must have sympathy for Co-Editor Serra, Tort and Ariadna Ribas, who have to comb hundreds of hours of digital recordings.

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