“A Paris education” directed by Jean-Paul Civeyrac is a black-and-white motion picture that lasts for 136 minutes. Looking at certain markers and taking into account references to politicians or certain events, it’s clear that the film takes place in our time. But the picture itself, its heroes and their searches are out of time and place. That’s why the black-and-white picture perceives organically. Moreover, the heroes themselves are seeking for their own self and often docking to the polar shores. They live in a binary system: creativity – certain affairs, loyalty – betrayal, friendship – ignoring. They see this world only in two colors.
The protagonist Etienne comes to Paris to study, he dreams of filming good movies. However, doubts, the need for support and recognition, especially from the brazen “main critic”, all of it don’t bring him self-fulfillment. The search for yourself and your destination; a dream to be heard and learn how to speak to the world; a building of the relationships; huge desire not to lose your way – these are just the main questions that the hero tries to solve in the gloomy Paris.
The film participated in the Berlin International Film Festival. Today, citizens of Odesa and city guests will be able to watch this film in the hall of Odessa Academic Theatre of Musical Comedy.
The second film “Birds of Passage”, directed by Cristina Gallego and Ciro Guerra (Denmark, Colombia). The film is a unique cry song that consists of 6 song parts. It has a ring composition and tells a tragic story about the self-destruction of several largest Colombian bloodlines in a fratricidal war. Clan representatives broke away from their traditions and beliefs because of enrichment. In the seventh decade of the twentieth century, they decided to grow and sell marijuana to American youth. The motive of Cainism is eternal, but it is presented by a new sound. The sound of the people’s voice of the South American desert. Main characters themselves recognize that at first, they lose their souls, and then they also get rid of their bodies.
Relations between the mother-in-law and her son-in-law on which we have thousands of anecdotes, in the film become the brightest form of confrontation’s manifestation. In the beginning, the main heroine of the film says: “For my family, I’m ready to do everything” – and that’s exactly the thing for which she is respected. With her own hands, justifying the deeds with the interests of her family, she destroys it. Revenge that dazzles the eyes, the pride and desire not to break old rules (although the main commandments have been violated for a long time), all these lead to a tragedy. The film is very powerful, spectacular and quite unusual. It’s the real contender for a victory in one of the nominations.
The picture was opening the section of “Directors’ Fortnight” at the Cannes Film Festival in 2018.
Odessa residents and visitors of the city will be able to see it today, July 15 at 20.00 in Odessa Academic Theatre of Musical Comedy.
In frames of the National Competition’s program “Hero of my time” by Antonina Noyabryova will be shown.
Director’s idea of Antonina Noyabryova is quite classic: to show the life of the capital and, in general, the realities of modern post-Maidan Ukraine from the perspective of a simpleton. His name is Zhorik (Eugene Bushmakin). He is one of 284,000 people who come to Kyiv every day in search of a better life (opening credits).
Zhorik consistently works as a salesman at the market, as a guard in the gallery of contemporary art and as a delivery man of bottled water. He has conflicts with his neighbors, housing bureau and police over a littered common corridor. He can’t understand why housing bureau officers are unable to fix an elevator without a bribe. Also, he wants to get into the “higher society”, but instead, he gets into trouble. In short, a big child that subconsciously checks the whole price of capital bourgeoisie life and slogans like “Ukraine is Europe.”
With all the nobility of the director’s intentions, unfortunately, film lacks the message. The film often doesn’t look like an acute satire, but as a crude sketch with plain characters and clunky dialogues. All these smooth out the impression of some really witty moments. Perhaps this is a disease of growth. Noyabryova ‘s desire to do social problem films is worthy of praise, however, she needs to improve her cinema language.
We also remind you that today there will be the non-competitive premiere of “Shoplifters” by laureate of the “Golden Palm” Hirokazu Koreeda and Naomi Kawase’s drama “Radiance”.
On the evening of the first day (July 14th), in the framework of the “Festival of Festivals” program, there was a screening of “Three Faces”, the film by Iranian director Jafar Panahi that’s worth talking about.
The phrase that every new film of a particular director is a miracle usually is rather vulgar. However, in the case of Iranian, Jafar Panahi, it’s just a cold, hard fact. After all, in March 2010, Panahi was sentenced to 6 years of house arrest for participation in anti-government protests, as well he was prohibited from filming and being interviewed for 20 years (the severe sentence coincides with 20 years that Ukrainian film director Oleg Sentsov had received).
Nevertheless, since then Panahi releases new pictures every 2-3 years, and each one is better than another. “Three Faces” is already his fourth film since his detention, and it was given The Best Screenplay Award in Cannes.
Three faces are three actresses of different generations: the first one hadn’t acted for a long time, she lives in seclusion and poverty; second is a modern star Behnaz Jafari and the third is a young Marzieh, whose family doesn’t allow her to study in Tehran’s acting school. Behnaz leaves the film set and to solve this problem she seeks the help of Panahi himself. They travel around the villages of Iranian Azerbaijan and for almost 2 days they try to help Marzieh.
Panahi does not judge anyone, but he doesn’t adorn anything as well. He shows fellow-villagers of Marzieh with clear sympathy: both touching and funny. Everyone has his own truth, but for him still, the truth itself of freedom is above all.
This elegant in its simplicity story is an example of the fact that ethical and aesthetic principles can be combined in one story almost perfectly.
Text by Svitlana Bondar and Kostyantyn Levin