Brazil, absent from Cannes for several years, made a striking return today with Kleber Mendonça Filho’s “Aquarius.” Firstly, because the film is magnificent, offering the great actress Sonia Braga a role worthy of her talents. But also because the film’s team protested on the steps and in the Grand auditorium Lumière, brandishing small signs denouncing the impeachment of President Dilma Rousseff.
This memorable session was actually our fifth since yesterday: five films, including the latest by Almodóvar.
Aquarius, Kleber Mendonça Filho, Brazil
Clara, a radiant sixty-something and former music critic, lives in a bourgeois building in Recife built in the 1940s by the ocean. A developer wants to demolish the building and has bought all the apartments except for Clara’s, who refuses to sell. She enters into a battle against the real estate company.
Sensuality and music on every floor: we’re certainly in a Brazilian film.
Examining themes of absence, memory, aging, and the supremacy of money: we’re undoubtedly in a universal film.
The character of Clara, portrayed by Sonia Braga, possesses an overwhelming beauty and absolute dignity, even if she is often imbued with whimsy and humor.
Without a doubt, Cinema needs Brazil!
Julieta, Pedro Almodóvar, Spain
Julieta sacrifices her personal life to find Antía, the daughter she has not seen since she voluntarily disappeared in late adolescence.
The latest film by Almodóvar deals with destiny and guilt. As is often the case with the director, it is a woman’s story, and the actresses are captivating (Emma Suarez and Adriana Ugarte). The iconic Rossy De Palma even has a significant role this time.
Will Almodóvar finally receive the Palme d’Or? For his entire body of work, it would be deserved and add prestige to the Festival’s list of winners.
Paterson, Jim Jarmusch, USA
Paterson (Adam Driver, one of the heroes of HBO’s excellent series “Girls”) lives in Paterson, New Jersey. He is a bus driver and leads a life as predictable as clockwork with Laura and Marvin, his English bulldog. But Paterson has a secret life: he spends the day writing little poems in a notebook that never leaves his side.
For Paterson, happiness is found in the cracks of everyday banality. Thus, anyone can be the poet of their own life. Jarmusch, as a champion of mindfulness, why not? Even if the film is formally very well done, I found its tone a little simplistic, the poetry frankly cheesy, and the character of Laura could inspire murderous impulses (I’m exaggerating…). In fact, I align more with the mischievous bulldog who (a bit) disrupts the orderly life of the lovebirds. Finally!
As for Jarmusch and his actor Driver, the least that can be said is that they don’t come across as merry souls: it took ten minutes of applause to extract the faintest hint of a smile from them.
Loving, Jeff Nichols, USA
This is the story of Mildred and Richard Loving, aptly named (played by Joel Edgerton and Ruth Negga). He is white, she is black, they marry in Washington and return home to Virginia in the late 1950s. It is forbidden. Consequently, they are banished from the state. Ten years and four children later, they go before the federal Supreme Court.
The two spouses, from modest backgrounds, married because they love each other and want to create a beautiful American family. They show no revolt, no activist approach; they just want to be happy without being exemplary. They still become part of history with the famous ruling “Loving Vs Virginia,” which marked the end of this aspect of racial segregation in the USA. Very understated, the film remains true to the Lovings. (In the end credits, you can see a moving photograph of the real-life heroes of the story)
Personal Shopper, Olivier Assayas, France
Maureen (Kristen Stewart), a young American in Paris, takes care of a celebrity’s wardrobe to earn a living. At the same time, she seeks to communicate with the spirit of her recently deceased twin brother, Lewis.
Assayas’ film is an intriguing blend of thriller and supernatural. Although not entirely convincing, the film holds together, and we explore the intricacies of the plot with curiosity.
That said, this film shot in English perfectly illustrates the contemporary laziness of screenwriters who overuse ITCs to advance their stories.
by Patrick Mottard
