Al escribir esto son las 11:00pm en Cannes, y la lluviosa cuarta jornada del Festival acaba de concluir.
Acompañando a un Allen visiblemente cansado y desgastado que no para de trabajar [está en medio del rodaje de su nueva comedia newyorkina] estuvieron sólo Penélope Cruz y Rebecca Hall. Notable la ausencia de Scarlett Johansson y Javier Bardem.
Al parecer Vicky Cristina Barcelona demuestra que, continuando con la promesa de Match Point, Woody Allen está de vuelta:
"Vicky Cristina Barcelona" is a sexy, funny divertissement that passes as enjoyably as an idle summer's afternoon in the titular Spanish city. With Javier Barden starring as a bohemian artist involved variously with Scarlett Johansson, Penelope Cruz and Rebecca Hall, pic offers potent romantic fantasy elements for men and women and a cast that should produce the best commercial returns for a Woody Allen film since "Match Point." And, in the bargain, if Barcelona wants even more visitors than it already attracts, this film will supply them."
Y luego de ser comparada con Sofía Loren en Volver, Penélope parece volver [no pun intended] a evocar a otra diva italiana:
"Cruz, who officially graduated from sex kitten to powerhouse melodramatic actress in "Volver," is in full Anna Magnani mode here, storming up and down mountain peaks of emotion and captivating everyone in the process. Allen even generates affectionate comic mileage from the common rap on Cruz's acting--that she's great in Spanish but blah in English--by having her deliver Maria Elena's colorful tirades in her native language, only to be told again and again by Juan Antonio to speak English so Cristina can understand her. She's dynamite here in either language." -- Variety.
Aquí el trailer que la hace parecer más Almodóvar que Allen:
De la sección oficial se estrenaron la brasileña Linha de Passe, o Línea de Pase [del lingo futbolístico], co-dirigida por Walter Salles [Diarios de Motocicleta, Central do Brasil] y Daniela Thomas, y la china Er Shi Si Cheng Ji [24 City], dirigida por Jia Zangke.
Con Vinícious de Oliveira [el niño de Central do Brasil] como protagonista, Walter Salles y Daniela Thomas se reencuentran como directores a 12 años de Terra Estrangeira para contar esta historia sobre cuatro hermanos que buscan salir de su barrio de Sao Paulo jugando futbol.
El recibimiento de la prensa en Cannes ha sido entusiasta, pero esto tipo de película raramente es premiada por el jurado:
"Using a mainly non-pro cast and a deeply realist style, it relies on a strong screenplay and a hard-driving rhythm to keep viewers interested in the interwoven stories of four brothers and their single mom. Comparisons to Luchino Visconti's "Rocco and His Brothers" are inevitable, but without name actors in the cast, this is not going to be as easy a commercial ride as Salles' cultish "The Motorcycle Diaries. On the plus side, "Linha de passe" (a soccer term) has a great deal of strength and sincerity going for it, which should attract the kind of audiences who admired the sociological line of "Central Station." Set on the poverty-stricken outskirts of the Sao Paulo megalopolis, it traces one summer in the lives of Cleuza (Sandra Corveloni), a pregnant housemaid, her three teenage sons and her young Reginaldo (Kaique de Jesus Santos), son of a black bus driver. If you think of this remarkable child actor as the transformed character of the young Alain Delon, you begin to see how radically Visconti's film has been rethought." -- The Hollywood Reporter.
"Above all, the film comes across as a film about religion - that is, Brazil 's true religion of football." -- Screendaily.
Con Er Shi Si Cheng Ji, o 24 City, el chino Jia Zhang Ke reafirma su posición como uno de los principales autores del cine mundial.
Su estilo de unir realidad y ficción viene de la idea de que toda historia es siempre el resultado de la mezcla de hechos reales manipulados por la imaginación de quien los cuenta.
Jia Zhang acompañado de las protagonistas Joan Chen y Zhao Tao
Es imposible que su cine meditativo y "lento" genere reacciones indiferentes, o se ama o se odia:
"Following "Still Life" and "Useless", documentary and fictional artifice are combined ever more egregiously by Mainland helmer Jia Zhangke in "24 City," in which the demolition of a state-owned factory for a new development becomes a tool to reminisce on 50 years of modern Chinese history. Result is far more accessible than Jia's previous two pictures, with moments of genuine emotion by the real-life interviewees. But technique of interweaving name actors into the docu fabric smacks of auteurism for the sake of it, and pic says nothing new or revealing that hasn't been said in countless other movies and docus. Further fest play beckons." -- Variety.
"This picture may appeal to the mind more than it does to emotions. Jia purposely refrains from voicing any opinions here and its authenticity may be arguable, but if pure fiction is so often taken as historical testimony, why shouldn't half-fiction qualify for the same honours?" -- Screendaily.
Uno de los aspectos favoritos del público de Cannes son las populares proyecciones gratuitas que se hacen en el érea de La Croisette. La vida de Cannes gira alrededor del mar de la Cote d'Azur, así que ¿qué mejor lugar para proyectar una película que en la misma playa?
En estos 4 días se han presentado desde los clásicos cortos de la Warner Bros de los Looney Tunes hasta la obra maestra de Arthur Penn Bonnie & Clyde. El día de hoy le tocó el turno a un revival del clásico de culto de Robert Clouse Enter The Dragon, la película más icónica de Bruce Lee.
Mañana, la respuesta a la pregunta que todos se hacen, ¿destruyeron George Lucas, Steven Spielberg y Harrison Ford la magia de Indiana Jones? Con la presencia de todos ellos se estrena finalmente luego de 19 años de espera Indiana Jones and the Kingdom of the Crystal Skull.
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