Donnerstag, 19. Mai 2011
Cannes-Ticker: 19. Maischwanenmeister, 01:17h
"The Skin I Live In" (Pedro Almodóvar) ****
Alan Jones (FrightFest) twittert: "Almodovar's THE SKIN I'M IN is a minor mad doctor horror, too melodramatic and I wanted to like it more despite all the perversity." Damon Wise (Empire) twittert: "The new Almodovar is great; a warped, delirious noir with flourishes of his old-style comedy. Don't read about it before seeing." Geoff Andrew (Sight & Sound) twittert: "Almodóvar's typically ingenious variation on the mad scientist offers intriguing ideas on sexual identity." Xan Brooks (Guardian) twittert: "Satisfying Gothic melodrama with shades of EYES WITHOUT A FACE, Antonio Banderas great as demented plastic surgeon." Und Dave Calhoun (Time Out) schreibt ziemlich begeistert: "Once again Pedro Almodóvar reveals his genius for turning the ridiculous into the sublime with this creepy skin flick – a melodramatic thriller that is sombre but never sober and that moves through time and space with much of the boldness and style we’ve come to expect from Spain’s leading director." Michael Sennhauser (SRF) schürt dagegen Ängste: "THE SKIN I LIVE IN kommt mir vor wie ein Versuch Almodóvars, zu seinen wilden, schockierenden Anfängen zurückzukehren. Aber nicht zu Fuß, sondern in einer gekühlten Luxuslimousine. Dem Film fehlt neben dem Humor auch das Herz, vor allem aber die Erotik, die schwule wie die übersteigert machohafte von früher." Nick James (Sight & Sound) twittert: "Almodóvar's wicked sexual send-up of Frankenstein, THE SKIN I LIVE IN, may be too knowing to win the Competition." James Rocchi (The Playlist) schreibt: "Almodóvar’s film may seem thin at first glance, but it’s exactly as thin as the skin we wear between the outer world and the blood in our bodies—and just as uniquely beautiful and distinctively imperfect." Peter Bradshaw (Guardian) schreibt: "Almodóvar brings a hypnotic quality to this exquisitely choreographed and compelling tale of surgical obsession."
"Guilty of Romance" (Shion Sono) ***½
Todd Brown (Twitch Film) schreibt: "At its core a story about the struggle for identity and personal power, that struggle gone badly wrong the more that sexual desire is introduced into the equation, GUILTY OF ROMANCE fuses graphic violence with strong sexuality while assaulting the notion that women asserting power by being attractive to men is any sort of good thing. His three leads are very strong with each delivering performances that bare the soul as much as the flesh. And with so much flesh exposed, that's a lot of soul." Auch Boyd van Hoeij (Variety) berichtet von einer mainstream-tauglicheren Filmversion: "Version shown on the Croisette is an indulgent director's cut that's almost 2 1/2 hours long. Buyers in the market and regular auds in Japan will be shown a shorter edit that comes in at just under two hours." Jordan Mintzer (THR) schreibt: "Transgressive erotic thriller will be pure saké for Sion Sono’s cult following, but won’t expand his fan base."
Für alle Daheimgebliebenen: Robert Koehler (Filmjourney), der auch nicht in Cannes ist und trotzdem einige der wichtigen Filme sehen konnte, lästert ätzend wie eh und je, aber nicht weniger spaßig über Thierry Fremauxs und Gille Jacobs Auswahlverfahren für die offiziellen Wettbewerbe ab.
Movies & Sports ist während Cannes so populär geworden, dass selbst Fanblogs von taiwanesisch-japanischen Schauspielern wie Takeshi Kaneshiro, der eine der Hauptrollen im Martial Arts-Film "Wu Xia" spielt, hierher verlinken. Niemand kann sich eben gegen eine sexy, universelle Sterne-Wertung erwehren, obwohl er die Sprache gar nicht versteht.
Karina Longworths (Village Voice) Cannes-Top Ten (sie hat 21 Filme in 7 Tagen gesehen): 1. Melancholia 2. Bonsái 3. The Tree of Life 4. The Kid on a Bike 5. Miss Bala 6. Goodbye 7. Poliss 8. Declaration of War 9. L'Apollonide 10. We Need to Talk About Kevin.
Noch drei Tage, nur noch wenig Lust und noch viele Auteurs übrig: Ceylan, Refn, Takeshi, Almodóvar und Sorrentino. Sasha Stone und Karina Longworth haben schon die Flatter gemacht.
Alan Jones (FrightFest) twittert: "Almodovar's THE SKIN I'M IN is a minor mad doctor horror, too melodramatic and I wanted to like it more despite all the perversity." Damon Wise (Empire) twittert: "The new Almodovar is great; a warped, delirious noir with flourishes of his old-style comedy. Don't read about it before seeing." Geoff Andrew (Sight & Sound) twittert: "Almodóvar's typically ingenious variation on the mad scientist offers intriguing ideas on sexual identity." Xan Brooks (Guardian) twittert: "Satisfying Gothic melodrama with shades of EYES WITHOUT A FACE, Antonio Banderas great as demented plastic surgeon." Und Dave Calhoun (Time Out) schreibt ziemlich begeistert: "Once again Pedro Almodóvar reveals his genius for turning the ridiculous into the sublime with this creepy skin flick – a melodramatic thriller that is sombre but never sober and that moves through time and space with much of the boldness and style we’ve come to expect from Spain’s leading director." Michael Sennhauser (SRF) schürt dagegen Ängste: "THE SKIN I LIVE IN kommt mir vor wie ein Versuch Almodóvars, zu seinen wilden, schockierenden Anfängen zurückzukehren. Aber nicht zu Fuß, sondern in einer gekühlten Luxuslimousine. Dem Film fehlt neben dem Humor auch das Herz, vor allem aber die Erotik, die schwule wie die übersteigert machohafte von früher." Nick James (Sight & Sound) twittert: "Almodóvar's wicked sexual send-up of Frankenstein, THE SKIN I LIVE IN, may be too knowing to win the Competition." James Rocchi (The Playlist) schreibt: "Almodóvar’s film may seem thin at first glance, but it’s exactly as thin as the skin we wear between the outer world and the blood in our bodies—and just as uniquely beautiful and distinctively imperfect." Peter Bradshaw (Guardian) schreibt: "Almodóvar brings a hypnotic quality to this exquisitely choreographed and compelling tale of surgical obsession."
"Guilty of Romance" (Shion Sono) ***½
Todd Brown (Twitch Film) schreibt: "At its core a story about the struggle for identity and personal power, that struggle gone badly wrong the more that sexual desire is introduced into the equation, GUILTY OF ROMANCE fuses graphic violence with strong sexuality while assaulting the notion that women asserting power by being attractive to men is any sort of good thing. His three leads are very strong with each delivering performances that bare the soul as much as the flesh. And with so much flesh exposed, that's a lot of soul." Auch Boyd van Hoeij (Variety) berichtet von einer mainstream-tauglicheren Filmversion: "Version shown on the Croisette is an indulgent director's cut that's almost 2 1/2 hours long. Buyers in the market and regular auds in Japan will be shown a shorter edit that comes in at just under two hours." Jordan Mintzer (THR) schreibt: "Transgressive erotic thriller will be pure saké for Sion Sono’s cult following, but won’t expand his fan base."
Für alle Daheimgebliebenen: Robert Koehler (Filmjourney), der auch nicht in Cannes ist und trotzdem einige der wichtigen Filme sehen konnte, lästert ätzend wie eh und je, aber nicht weniger spaßig über Thierry Fremauxs und Gille Jacobs Auswahlverfahren für die offiziellen Wettbewerbe ab.
Movies & Sports ist während Cannes so populär geworden, dass selbst Fanblogs von taiwanesisch-japanischen Schauspielern wie Takeshi Kaneshiro, der eine der Hauptrollen im Martial Arts-Film "Wu Xia" spielt, hierher verlinken. Niemand kann sich eben gegen eine sexy, universelle Sterne-Wertung erwehren, obwohl er die Sprache gar nicht versteht.
Karina Longworths (Village Voice) Cannes-Top Ten (sie hat 21 Filme in 7 Tagen gesehen): 1. Melancholia 2. Bonsái 3. The Tree of Life 4. The Kid on a Bike 5. Miss Bala 6. Goodbye 7. Poliss 8. Declaration of War 9. L'Apollonide 10. We Need to Talk About Kevin.
Noch drei Tage, nur noch wenig Lust und noch viele Auteurs übrig: Ceylan, Refn, Takeshi, Almodóvar und Sorrentino. Sasha Stone und Karina Longworth haben schon die Flatter gemacht.
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