The three films presented yesterday at the competition in Mostre tell the story of the ways in which modern cinema (not always successful) goes to attract the attention of the public.or: politics as farce(El Conde Pablo Larrain), daily life of prominent people (ferrari Michael Mann) and the revenge of the latter (dog man Luc Besson).
Imagine Chilean dictator Augusto Pinochet as an immortal vampire, and that might be a way to talk about the “eternity” of fascism, but then Larraine is lost in inconsistent allusions on the Church’s ambiguity and seems to be more interested in making fun of the general’s children and their lust for money, rather than speculating about the infatuation with “strong men”. Irony turns into farce and the doubts of the general, who does not know whether to continue sucking blood, roll the film to the side poshade along with a devoted wife and a young exorcist infatuated with who he should destroy. And unwilling to think about who actually suffered from the ferocity of Pinochet, the power of the allegory dries up after a very short time, and farce is stupid and ineffectual. VOTE: 4
Even the portrait of Enzo Ferrari goes around in circles. (Adam Driver, no more than true), invented by Mann in the decisive 1957, when his industry is on the verge of collapse, and his wife Laura learns about the existence of a lover and a son that Enzo had from her: she could save him only by winning in Mille Miglia, for whom he seems ready to sacrifice everything. But it all comes down to nothing pseudo-Saturn, devouring people close to him never really hurts, just a selfish concern for the fate of their industry, and both women don’t go out of their roles as patient lover (Shailene Woodley) and cynical wife because she’s interested in Ferrari (Penelope Cruz). The result is not much different from a rich TV biopic that mixes light and shadow without even delving into appearance. RATING: 5/6
Besson, on the other hand, evokes sympathy in the audience for the humiliation endured by a young man who is locked in a cage with dogs by his father and who will grow up with the belief that animals are better than people. The result is a character halfway between the Joker and the obese department professor. WHALEwho, of course, finds understanding only among outcasts like him (in the case of transvestites) and the dogs he lives with. A completely exaggerated story, designed to brazenly cheer up the humiliated and offended and rejoice in their revenge, but rescued by the extraordinary interpretation of Caleb Landry Jones, who knows how to economically convey the pain and sadness with which Besson burdens his character. RATING: 6–