For too long fictions he narrated in his cinema Wim Wenders lost state of Grace, but his documentaries enjoy an enviable health. He performs m on people whose art he deserves and for which he feels unconditional admiration. Its homage to choreographer Pina Bausch and photographer Sebastião Salgado are beautiful. In a man of his word, exhibited outside contest, he approaches Pope Francis. We have No news that this practice any of fine arts, but it is clear that it tries to revolutionize Catholic Church, that its messages, its personality, what it says and what it does may seem avant-garde art in a church that was ankylosed, with Serious problems to maintain his ancestral parish, detached from reality or pettily attached to it.More information
- The Pope, new star of Cannes
Wenders collects most significant moments of this papacy, immense power of communication of a man with his parishioners (and even with those who are not), transcendence of his travels through universe, seduction that deploys to all types of receivers, his Committed and unusual discourse before lamentable state of things, his defense, his tolerance and his piety with disadvantaged, his concern for ecology, social justice and countless pedophiles committed by priests of his church, by Power.
Wenders combines all that with parallelism between this man and conduct of Francis of Assisi. To do this, he uses black-and-white fiction by reconstructing figure and spirit of that saint born more than 800 years ago. It's weakest thing in this solid documentary. And it also makes a long and heterodox interview with pope, in which we only hear his answers and re is at no time retort or counterreply of his interviewer. Speaking in front of camera, setting his gaze, Pope Francis proves to have magnet and credibility of great actors. What it says and way to do it has no waste, it makes you think, it gets you inside. A man of word can rub hagiography at times, but he has remarkable strength. Wenders, like so many people, has been enchanted with man he portrays. And you are surprised to meet a pope who quotes with knowledge and passion nihilist Dostoevsky, who breaks tiring tradition of phrases and common places, which when approaching most fragile members among crowds that revere him seems to do Truth, that respects freedom to exercise aism. He's a very rare pope. Time will give his verdict.
The Japanese film A Family Affair, directed by Kore-EDA, insists on a subject that obsesses its creator. And it is that families do not need to be formed with blood ties, but y can be improvised with love, complicity and mutual protection, which can be most solid refuge for loneliness and helplessness. Also that that provisional paradise can be come down. It counts with sensitivity and an excessively paused tone. And you're tying ends and remembering nuances when re comes a outcome that you don't expect, that reveals mystery, an ending as logical as it is sad.
The jury's presidency is carried by that excellent actress and dazzling lady named Cate Blanchett. Feminist manifestos are read every day. It recalls abusive disproportion in history of Festival of Cannes between films directed by men and women. As a result, rumor that Cannes would be delighted to grant gold palm to a director is very strong. There are three women who compete in official section. Eva Husson signs Daughters of Sun, which is a disaster. It does not have slightest sense of action cinema but a clumsiness that can induce to blush, with a final as false as tender, with regrettable dialogues. It is set in Kurdistan and is starred by a group of warriors, whose families were massacred, who are faced with thirst for vengeance to jihadi army. The Italian Lazzaro Felice, directed by Alice Rohrwacher, houses echoes Fellinianos when telling story of peasants voluntarily subjected to a feudal aristocracy, portrays a community of innocent selfless people who remain oblivious to real world. Its quality is limited but it is allowed to be seen and heard.