Normal people have nothing exceptional: "All dreams of World," by Laurence Ferreira Barbosa
Cinema has this habit of portraying losers that are said to be "magnificent". They are out of ordinary, who miss ir lives in great widths, with a certain sense of panache and foot of nose, which one thinks of Chaplin (ir far at all) or first Rocky.
But what to do with ordinary losers, those who fail like ors, without any brilliance, without embodying any counter model, and whose only heroism is to join ranks of normality?
This is case of Pamela, endearing heroine of Laurence Ferreira Barbosa's last film, figure of young French Cinema of 1990 years and since lost sight, whose first feature film, normal people have nothing Exceptional (1993), could very well have Give his title to this one. A penny teenager living with her parents of Portuguese descent, in a suburban suburb of Val-de-Marne, Pamela collapses emotionally in front of each of steps that could project her into adulthood.
She misses her bachelor's degree for second time, fails driver's license, balks to continue her studies and cries with hot tears on her fate. It could be said that she lacks confidence in her, but what prevents her from advancing is instead a form of existential withdrawal, subordination, passivity.
By dealing with Franco-Portuguese community, and more broadly feeling of double belonging and resulting intimate troubles, Laurence Ferreira Barbosa probably signs his most personal film. She does not want to force anything so much that she would almost forget emancipation scenario she was saving to Pamela, precipitated in very last scenes of film. But re is no need to wait until n so that this heroine not like ors is asserted by its delicate and surprising "quality of being". David man
"All dreams of World", a French film by Laurence Ferreira Barbosa. With Pamela Constantino-Ramos, Rosa Da Costa, Antonio Torres Lima, Mélanie Pereira, Lola Vieira, Alexandre Prince, David Murgia (1 h 48).
sardonically yours: "The Square", by Ruben Ostlund
So here's to public film that jury Cannes, a little to general surprise, rewarded with a Palme d'or in month of May. The Swede Ruben Ostlund is author; Three of his films (Happy Sweden, Play and Snow Therapy) have already been distributed in France.
To program: The contemporary Homo Suedus, a sophisticated embodiment of Western values, sifted by a polar humour, biting, sardonic, sometimes confining unpleasant. The square ("The square") is type of man that Ostlund, a funny misanthropic bird adorned with plumage of societal critique, especially likes to martyr, among or characters he does not spare more. Forty of beautiful poise, elegant, bourgeois extraction, supposed social democratic, ecologically correct, more discreetly want in all compartments of life.
The specimen in question is called Christian, he is divorced with two children, performs profession of curator of a prestigious Museum of Modern Art. Crunchy in a few cruel traits of characters he does not like – cowardice of curator, fatuity of artist who installs heaps of gravel in an empty room, madness of performer, aggression of homeless, cretinism of communication adviser-Ruben Ostlund accumulates squeaky scenes but does not really succeed in setting up an issue or a dramatic progression.
The same spring animates mechanics of a film that could last an hour more or less without real impact. This spring, such as Square in use and abuse, would be that of sad passion of a Western-phase at roughly terminal. The time, it is true, helps with this finding, but no one is required to solve it. James Mandelbaum
"The Square", a Swedish film by Ruben Ostlund. With Claes Bang, Elisabeth Moss, Dominic West. (2:31)
Back to America's SOURCES: "Our Daily Bread," by King Vido
Our Daily Bread (1934) occupies a special place in history of American Cinema: one of first films written, produced and made independently of Hollywood studios. His instigator and director King Vido (1894-1982) was, however, one of historical pillars of MGM, author of masterpieces such as Crowd (1928) or The Grand Parade (1925).
With our daily bread, he imagined a film "inspired by headlines of newspapers" (as indicated by a carton of generic), which would bluntly evoke consequences of stock market crash of 1929 (mass unemployment) and would envisage a crisis exit by Solidarity and collectivism.
The project is rejected by all studios, which undoubtedly smell a ferment of socialism, and lands in hands of Charlie Chaplin, who opens access to distribution network of associated artists. The result is a small marvel that reaches, in just 75 minutes, to tell nothing less than political Constitution of a community and conquest of its autonomy. John (Tom Keene) and Mary Sims (Karen Morley), a couple of city dwellers undergoing full-force unemployment, settled on a mortgaged farm to flee poverty and start all over again. Their inexperience in agriculture leads m to recruit workers, but it is a haggard and unworked crowd that is pressing on ir doorstep.
Through this narrative, Vido tries a real experience, that of extracting its characters from a world ravaged by crisis, to recompose a community on new bases. If it seems thus to engage in Utopia, it is not so much to ogle collectivist model as to orchestrate a return to sources of America, to this agrarian and stripped life that had to be that of pioneers, in a form of political pastoral unique in His kind. My. Mt
"Our Daily Bread", American film by King Vido (1934). With Karen Morley, Tom Keene, Barbara Pepper (1:14).
From cinema in bottle: "My first festival"
From 25 to 31 October, in twelve art halls and essays in Paris, 13th edition of my first festival, a demonstration for very small (from 2 years for some programmes), will focus on South America, including very poetic Boy and world of Brazilian Alê Abreu, released in France in 2013, and various films from Mexico, Uruguay, Colombia, Argentina or Chile.
But festival is largely overflowing with this program. With some forty films in total, including many preview (Ernest and Celestine in winter by Julien Chheng and Jean-Christophe Roger, Wallace and Gromit, sculptor's hearts of Nick Park), classics of animated Cinema ( World of Nemo de Hayao Miyazaki, Fievel and New World of Don Bluth, Kirikou and Sorceress of Michel Ocelot) or burlesque cinema (get up re!) by Fred C. Newmeyer and Sam Taylor, great hit by Harold Lloyd ...), and a tribute to Serge Elissalde, director of U (2006) , re will be for all tastes.