Freitag, 18. Mai 2012
Cannes-Ticker: 18. Maischwanenmeister, 22:39h
"No" (Pablo Larraín) ***
[Directors' Fortnight]
"Larrain's Pinochet trilogy reaches riveting closure with 80's ad satire. Don Draper, stonewashed: obviously sly, unexpectedly stirring (A-)", schreibt Guy Lodge (In Contention). "Precisely the kind of film you want to find here -- bracing, funny, real, brilliant", schreibt James Rocchi (MSN Movies). "Standing ovation for Pablo Larrain's terrific NO, powerful drama of '88 Pinochet referendum with great Gael Garcia Bernal", schreibt Eric Kohn (indieWIRE). "Loved Pablo Larrain's NO here in Cannes 2012 - why isn't that in competition", schreibt Leslie Felperin (Variety). "It seems strange to say this to a director who has become a stalwart of the Latin American arthouse scene, but this is one film where Larrain and his scriptwriter might have benefitted from making this a tighter US-style commercial product", schreibt Lee Marshall (Screen Daily). "And so NO is both a crowd-pleasing, satisfying narrative entertainment and a highly sophisticated conceptual object -- perhaps the ultimate Situationist movie", schreibt Karina Longworth (L.A. Weekly).
"Beyond the Hills" (Cristian Mungiu) **
[Wettbewerb]
"A total knockout. The festival has finally kicked off", schreibt David Jenkins (Little White Lies). "Long-winded let-down suggests CM's talents are more suited to writing scripts than to adapting (5/10)", schreibt Neil Young (THR). "EYOND THE HILLS is flawed and breaks faith with its fear of evil a few times, but it's a couple of aisles ahead of the rest", schreibt Nick James (Sight & Sound). "Another accomplished film content to just keep doing one thing from start to finish. Super intense though", schreibt Mike D'Angelo (The A.V. Club). "Composition impeccable; construction wanting. Compelling, never surprising, relaying tension where 4 Months coiled it (B)", schreibt Guy Lodge (In Contention). "Cristian Mungiu's "Beyond The Hills" is a long downerish Bresson film about faith, monastic denial, love, insanity, exorcism & the evil one. Very austere, monastic, forbidding. Vaguely creepy, chilly, very slow & deliberate, disturbing but doesn't really pay off. And yet it does", schreibt Jeffrey Wells (Hollywood Elsewhere). "Cristian Mungiu's BEYOND THE HILLS, about human love v love of God, most coherent, gripping competition film yet. Again too long", schreibt Geoff Andrew (Sight & Sound). "BEYOND THE HILL is long, mad and upsettingly brilliant", schreibt Peter Bradshaw (Guardian). "Cristian Mungiu's BEYOND THE HILLS is a hugely accomplished disappointment", schreibt Justin Chang (Variety). "Cristian Mungius Film unter orthodoxen Christen ist ein langatmiges, seltsam hohles Manöver, eine Kunstanstrengung ohne Mehrwert", schreibt Dominik Kamalzadeh (Standard). "Mungius' film is a slow but captivating contemporary drama that looks like a period piece", schreibt Christian Jungen (NZZ). "Die 150 Minuten bleiben im Gedächtnis. Und der Schatten von Tarkovski hängt über den Erinnerungen", schreibt Michael Sennhauser (SRF). "Something of a disappointment. The initially fascinating, ambiguous relationship between the two young women is overwhelmed by the hysteria spawned by her unflaggingly intense presence at the monastery", schreibt Karina Longworth (L.A. Weekly). "We know, in a word, that we’re going to be watching a movie that’s like THE EXORCIST made by Robert Bresson. If only it had been", schreibt Owen Gleiberman (Entertainment Weekly). "Ungeheuer souverän im Einsatz seiner Mittel", schreibt Thomas Schultze (Blickpunkt:Film). "I have heard estimable critics invoke such landmarks of religious cinema as THE PASSION OF JOAN OF ARC and DAY OF WRATH as points of reference. But, in my view, such comparisons only put the ultimate shortcomings of the new film into more stark relief", schreibt Todd McCarthy (THR).
---Entdeckungen---
"The Tall Man" (Market, Pascal Laugier): "It is as heartbreakingly terrifying, cleverly constructed, superbly acted, thought provoking and equally multi-levelled. I absolutely adored its depth and range, its visual dexterity and bravura imagery, its breathless twists and warped sense of morality. And, yes, its ode to Dario Argento’s 3 Mothers", schreibt Alan Jones (FrightFest).
[Directors' Fortnight]
"Larrain's Pinochet trilogy reaches riveting closure with 80's ad satire. Don Draper, stonewashed: obviously sly, unexpectedly stirring (A-)", schreibt Guy Lodge (In Contention). "Precisely the kind of film you want to find here -- bracing, funny, real, brilliant", schreibt James Rocchi (MSN Movies). "Standing ovation for Pablo Larrain's terrific NO, powerful drama of '88 Pinochet referendum with great Gael Garcia Bernal", schreibt Eric Kohn (indieWIRE). "Loved Pablo Larrain's NO here in Cannes 2012 - why isn't that in competition", schreibt Leslie Felperin (Variety). "It seems strange to say this to a director who has become a stalwart of the Latin American arthouse scene, but this is one film where Larrain and his scriptwriter might have benefitted from making this a tighter US-style commercial product", schreibt Lee Marshall (Screen Daily). "And so NO is both a crowd-pleasing, satisfying narrative entertainment and a highly sophisticated conceptual object -- perhaps the ultimate Situationist movie", schreibt Karina Longworth (L.A. Weekly).
"Beyond the Hills" (Cristian Mungiu) **
[Wettbewerb]
"A total knockout. The festival has finally kicked off", schreibt David Jenkins (Little White Lies). "Long-winded let-down suggests CM's talents are more suited to writing scripts than to adapting (5/10)", schreibt Neil Young (THR). "EYOND THE HILLS is flawed and breaks faith with its fear of evil a few times, but it's a couple of aisles ahead of the rest", schreibt Nick James (Sight & Sound). "Another accomplished film content to just keep doing one thing from start to finish. Super intense though", schreibt Mike D'Angelo (The A.V. Club). "Composition impeccable; construction wanting. Compelling, never surprising, relaying tension where 4 Months coiled it (B)", schreibt Guy Lodge (In Contention). "Cristian Mungiu's "Beyond The Hills" is a long downerish Bresson film about faith, monastic denial, love, insanity, exorcism & the evil one. Very austere, monastic, forbidding. Vaguely creepy, chilly, very slow & deliberate, disturbing but doesn't really pay off. And yet it does", schreibt Jeffrey Wells (Hollywood Elsewhere). "Cristian Mungiu's BEYOND THE HILLS, about human love v love of God, most coherent, gripping competition film yet. Again too long", schreibt Geoff Andrew (Sight & Sound). "BEYOND THE HILL is long, mad and upsettingly brilliant", schreibt Peter Bradshaw (Guardian). "Cristian Mungiu's BEYOND THE HILLS is a hugely accomplished disappointment", schreibt Justin Chang (Variety). "Cristian Mungius Film unter orthodoxen Christen ist ein langatmiges, seltsam hohles Manöver, eine Kunstanstrengung ohne Mehrwert", schreibt Dominik Kamalzadeh (Standard). "Mungius' film is a slow but captivating contemporary drama that looks like a period piece", schreibt Christian Jungen (NZZ). "Die 150 Minuten bleiben im Gedächtnis. Und der Schatten von Tarkovski hängt über den Erinnerungen", schreibt Michael Sennhauser (SRF). "Something of a disappointment. The initially fascinating, ambiguous relationship between the two young women is overwhelmed by the hysteria spawned by her unflaggingly intense presence at the monastery", schreibt Karina Longworth (L.A. Weekly). "We know, in a word, that we’re going to be watching a movie that’s like THE EXORCIST made by Robert Bresson. If only it had been", schreibt Owen Gleiberman (Entertainment Weekly). "Ungeheuer souverän im Einsatz seiner Mittel", schreibt Thomas Schultze (Blickpunkt:Film). "I have heard estimable critics invoke such landmarks of religious cinema as THE PASSION OF JOAN OF ARC and DAY OF WRATH as points of reference. But, in my view, such comparisons only put the ultimate shortcomings of the new film into more stark relief", schreibt Todd McCarthy (THR).
---Entdeckungen---
"The Tall Man" (Market, Pascal Laugier): "It is as heartbreakingly terrifying, cleverly constructed, superbly acted, thought provoking and equally multi-levelled. I absolutely adored its depth and range, its visual dexterity and bravura imagery, its breathless twists and warped sense of morality. And, yes, its ode to Dario Argento’s 3 Mothers", schreibt Alan Jones (FrightFest).
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