Cannes .- memory, identity and dignity are the axes of the two films presented today in competition at the Cannes Film Festival, but the film really has become the star of the day is the new work Pixar Inside Out .
Criticism of the festival, considered one of the strictest in the world, fell in love with this animated movie and original treatment of the emotions of an 11 years from the fantasy and imagination.
The author of remarkable works of animation as fun Monsters, Inc . or the tender Up “ surprised again with Inside Out , whose plot centers on the emotions that govern the head of a girl, Ridley.
And those emotions, embodied in characters, are the characters of the film. Joy (joy), Fear (fear), Anger (anger), Disgust (ASCO) and Sadness (sadness)
When Riley moved from his native Minnesota to a new city, San Francisco, emotions are altered and lost joy, the engine that makes things always end up working.
Inside Out no is a film for children, but for all those children who are over the age of the protagonist and, like all Pixar, for adults of all ages.
“It’s a film about how you leave childhood, as one becomes an adult and what happens when that happens, “he said in Cannes Docter, who came up with the idea following see how it would grow his daughter and the need to understand it.
“We wanted to make a film about something that everybody knows, but had not seen before,” summarized John Lasseter ( Toy Story ), creative director of Disney Animation Studios and Pixar.
Meanwhile, in competition were presented French La loi du marché , Stephane Brize and Norwegian Louder than Bombs Joachim Trier .
An international cast with France’s Isabelle Huppert and Irishman Gabriel Byrne put the head on the orders of Trier, who attends for the first time in the contest. The drama focuses on the death of a successful photographer conflicts that dies in a car accident.
An exhibition five years after his death leads to the widow and her two children to remember and analyze what happened. Striking in the film is primarily visual language, with constant flashbacks or dreams with a creative mix assembly work without difficulty in the plot.
Trier, whose grandfather Erik Lochen, also attended by the Palme d’Or at Cannes with Jakten (1960), builds a story that addresses not only the grief and memory, but also about infidelity or the difficulty of being father alone. “The duel took us to explore things that happened in the family,” For Huppert, winner said.
twice the award for best actress in Cannes ( The groupie , Violette Nozière ) your character has multiple features, as each family member sees it differently, he said at a press conference.
Your profession passionate about, but the frustration begins to take its toll after years of seeing death from the front lines. Added to this it is her job keeps her away from home and when he returns, also feels out of place. “It’s as if I lived two lives,” says the actress born in Paris, which again manages to reach the viewer his troubled inner world.
For Byrne, who plays the widower who can not communicate with your child Teen (Devin Druid), the film explores the complex way left to the family after a tragedy and how to overcome. It also examines “the notion of memory and recalled how” a loved one.
Meanwhile, Brizé also newcomer in the race for the Palme d’Or, Cannes brings up a social drama about a man middle-aged job seeker and the difficulties it faces.
At a time when France (and many other countries in Europe) live exasperating unemployment levels, La loi du marché fixed a camera operator (Vincent Lindon) in the 50, married with a disabled son who loses his job and, despite his attempts to recycle, only get a job as a security guard in a supermarket.
Your new job he faces the dilemma of having to denounce their own comrades.
The films that deal with social issues are important, Lindon said. “I think that films that transcend are talking about contemporary society and what happens in this society,” he said.
These films portray the middle class man and perhaps the cinema is an art so important because it’s what people remember. Film is a powerful medium, it may not get to change things, but raise certain issues, he insisted the actor. “Stéphane he urges the public to ask questions and that’s what I like about the movie,” he said.
Filmed so close to the documentary, with natural light and a camera that barely deviates from Lindon, the director had no professional actors except for its protagonist. “I wanted to make a truthful film, the camera rolled reality and that was the best solution,” explained the director.
“I like working with non-professionals,” said Lindon, adding that he did not but not professional actors who have never acted before call. “I learned a lot from them,” the protagonist, who in the 90s was best known for his relationship with Caroline of Monaco for his performance in front of the camera.
Both Louder than Bombs and La loi du marché , the second of five French films in competition, were well received in the French event. But nothing comparable to the cheers of “Inside Out”, which put the cheerful note of the day.
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