A 25 years after the success of Pulp Fiction Tarantino resurrects a painful history of Hollywood and Dolan tries yet another affirmation.
(da Cannes Luigi Noera – Photos are published courtesy of the Festival de Cannes)
The critics updated standings (fonte SCREEN) of the films in competition in Cannes always to first place with Pedro ALMODÓVAR DOLOR Y GLORIA (PAIN AND GLORY) 3,3, seguito ex equo da DIAO Yinan con NAN FANG CHE ZHAN DE JU HUI (THE WILD GOOSE LAKE) China and Mati DIOP with ATLANTICS 2,8 they get a small cut to Kleber Mendonça Filho & Julian DORNELLES con nighthawk 2,6, Ken LOACH con SORRY WE MISSED YOU 2,5 (which, however, was affected by the failure to review the Liberation journalist). Always with a score of 2,5 Terrence MALICK A HIDDEN LIFE e Corneliu PORUMBOIU THE WHISTLERS. At the last places remain Ladj LY with the First Film LES MISERABLES 2,4, Jessica HAUSNER con LITTLE JOE 2,3 and finally Jim Jarmusch with THE DEAD DO NOT DIE which gets the lowest score 2,2
For what concerns us in the middle of the week waiting for the final between the deserving films of Palmares was added GISAENGCHUNG (PARASITE) Korean BONG Joon Ho bottom of the table with the head of Pedro ALMODÓVAR film DOLOR Y GLORIA ex aequo with A HIDDEN LIFE Terrence MALICK followed by Kleber Mendonça Filho & Juliano DORNELLES con BACURAU e DIAO Yinan con THE WILD GOOSE LAKE.
But let the films in Competition
In the middle of the week many expectations in part well placed in three directors who are loved by so many Croisette. Let's start with the youngest Xavier DOLAN that with 
MATTHIAS AND MAXIME It presents us with a story of two friends bound since childhood. Sorry to say that in the first three quarters of the film nothing happens except a series of shots of the two protagonists along with their always ready to joke friends. The enfant prodigy in this cloying story touching historic lows even though in the last twenty minutes the story takes place. Such as Maxime character played by the director himself perfectly; Dolan has unfortunately passed some of his issues related to the relationship with the mother. Just remember the valuable MOMMY an entirely different bill, always he is struggling with a maternal relationship permeated by due empathy that in the latter work is entirely missing. Maxime has not passed the childhood contrasts runs moved the antipodes in Australia. In fact we can not escape from ourselves and this unfortunately eludes the director who does not incìvia the audience a clear message.
Instead Korean BONG Joon Ho surprises with GISAENGCHUNG (PARASITE), surreal narrative of atavistic conflict between rich and poor. A family's fall from grace in the lives of the Twilight Zone metropolis getting by with jobs that do not damage the future. When the child gets the opportunity to replace his cousin as a mathematics teacher of the scion of a wealthy family's fate it seems to be kind to the past. From here the ascent of power with methods not quite clear to even dream to appropriate the fantastic villa where he lives the rich family. But wealth is not everything. These parents, although wealthy, In fact, they have relationship problems with the two children to make up for the two children of the poor family pretending to tutor the one and the other psychologist. In the sumptuous villa but there are secrets that come from afar. In a crescendo that sheds light on the true nature of directing the film it turns into a short time in a horror that puts in place all of the narrative dowels. From point out that there are also references to the current political situation in Korea that has to deal with North diaspora where there is the only communist dictatorship that still stands. There is a saving hope in the end we leave you to discover directly in the room.
From France OH MERCY! Arnaud Desplechin disappoint as expected with its cinematic past. A story centered on a Parisian police station dealing with scammers, pusher and of the most varied offers crime. And once again a question naturally arises is: are good kinds, but there were no other more worthy films to be selected?
While for the highly anticipated film ONCE UPON A TIME… IN HOLLYWOOD Quentin Tarantino nearly three hours strictly in 35 mm we hope to see him Saturday, day dedicated to the recovery of the films. From our colleagues we have mixed opinions, rather it should be reviewed, but the star cast gives us hope.
In selecting which houses the worthwhile films that did not find space in the official competition we find four pearls including Spanish WHAT ARDE (A SUN THAT NEVER SETS) Oliver LAXE on the issue of emigration affects the character of the old mother always ready to defend and cover the child who eventually turns out to be the author of arson. A little hole in the script lose force the entire narrative.
From the Ukraine a movie on that land EVGE Nariman ALIEV. As first work reflects some imperfections but the force of the young director and two stars (father and son) make it a pearl to participate in the Golden Room. The topics such as Islamic fundamentalism, oppression by the Russians on Ukraine make it a standard-bearer for human rights, the director recalled are increasingly trampled and against whom spends his profession of directing. E 'was also the time of the second animated film in competition. French director Lorenzo Mattotti is particularly versed in this style of film language that stages from an essay by Buzzanti THE FAMOUS 
INVASION OF THE BEARS IN SICILY. The dry style of the figures, Bear, soldiers and two storytellers in perfect Sicilian tradition lay bare the human weaknesses that are free to choose between good and its opposite.
Finally Opera before LIU TIAN YU (SUMMER OF CHANGSHA) ZU Feng will speak in the next article.
A cult favorite in the special section Out of competition with the presentation of a masterpiece THE GANGSTER, THE COP, THE DEVIL LEE Won-Tae which will report in a future article.
As for the sections in the margins with the last film in competition of guatemalese César Díaz, First work Our mothers (Our Mothers) concludes the 58^ Critics Week which awarded the following honors:
Grand Prix Nespresso I LOST MY BODY (I LOST MY BODY) di Jeremy Clapin
Price Discovery Leitz Cine short film has SHE RUNS Qiu Yang di
Price Louis Roederer Foundation Masculine Revelation Ingvar E. Sigurdsson con WHITE, White Day (A WHITE, WHITE DAY) di Maple Pálmason
Instead the prizes offered by the partners of the Critics' Week are:
Price Gan Foundation for Broadcast aThe Jokers Movies, of VIVARIUM distributor Lorcan Finnegan
Prix SACD Cesar Diaz and scritore di autore our mothers (OUR MOTHERS)
Price Channel + the short film IKKI ILLA MEINT (NOT BAD FOR) in Andrias Høgenni
After the closing ceremony of the Semaine de la Critique from China Gu Xiaogang he presented his first work: Chun jiang shui nuan (Dwelling in the Fuchun Mountains). The saga of a family of inspired the director to share today's China. In anticipation of the Olympics 2022 whole the towns are demolished and rebuilt, but in this titanic effort traditions, human relationships between generations are not affected. There will be a sequel as announced in the credits.
Finally, Cannes Classics will report a doc and two restored films:
Ferid BOUGHEDIR CAMERA AFRICA (20 YEARS OF AFRICAN CINEMA) 1h38
Luis Buñuel GOLDEN AGE (THE GOLDEN AGE) 1h
Lina Wertmüller Seven Beauties (SEVEN BEAUTIES)
E 'was also interesting to participate in the master class of Chinese diva ZHANG ZIYI the RENDEZ-VOUS AVEC session conducted by YVES MONTMAYER which we attach a video of the meeting.