A current drama of Ken Loach on social deprivation in England and an eccentric comedy by Frenchman Bruno Dumont set in the Belle Epoque did mourn and laugh Friday at Cannes .
the two contenders for the Palme d’Or to be awarded on May 22 were applauded on the pass to the press and are part of the 21 films in competition
-. social Shipwreck England –
Call administration and falling into an impersonal voice with music and compelling options is one of the sentences of the century. Across the line no name, nor responsible to appeal to: all roads lead to an anonymous “decision maker”, the decision maker in the mouth of all the bureaucrats who refuse to face
Daniel Blake (Dave Johns) is a carpenter of 59 years of the English city of Newcastle who is forced to resort to such help after suffering heart problems.
Although your doctor forbade work, the system forces him to seek an unlikely job or risk losing poor attendance barely enough to live on.
In his daily visit to the office serving the unemployed, meets a single mother (Hayley Squires) also in difficulties and also caught, with her two children, in a system that crushes it.
at 80 years and with a long militant films to his credit, the postulate base Loach, in which universe the poor are necessarily good, remains that capitalism sinks to the individual.
the film depicts the relationship between these two castaways who support each other, but social swallows individually and as often happens in Irish cinema moments are more effective collective emotion when the individual rebels, claimed their dignity and receive the solidarity and support of their peers. “When respect is lost for oneself, it is the end,” says Daniel Blake
-. Delicious bourgeois meat –
On the other side of the Channel, but not very far from England, where knowing laugh at himself is a moral obligation and a courtesy to others, is the North of France, region open cloudscapes and people said character.
There was born 58 years ago Bruno Dumont, the French director of “Ma Loute” who claimed in his films – “L’Humanite” (1999), “Flandres” (2006) -. to his native region “brute and full of grace time”
Two qualities that added to the grotesque direct the plot of his tragicomedy, which is regarded as a comic straight out of the Belgian school of Clear Line immortalized the Tintin Hergé.
everything happens around a flamboyant Egyptian style villa where spend the summer in the early twentieth century, the Van Peteghem, Tourcoing bourgeois family with their class prejudices, secrets of the past including the inevitable and naturally son of an inbred genetic defects.
not far away the locals live, the Brufort rough, living harvesting of mussels and although look askance at the bourgeois, the point considered palatable to eat them. Literally.
That unusual addiction to human flesh of the rich generates a series of mysterious disappearances investigating a pair of policemen, a fat and skinny reminiscent of Laurel and Hardy.
from the interaction between the two worlds of social classes held incommunicado -plausible allegory of French society of yesterday and today, a love story emerges, that of “Ma Loute” nickname of the young scion of the Brufort (Brandon Laviéville) and androgynous Billie, the son of Van Peteghem, who usually dress up girl.
the action is surreal outputs that visually recall the paintings of Magritte and mostly revolves around the character of the father, ridiculously affected even in gait, who plays with a successful Valeria Bruni Tedeschi in the role of his wife Fabrice Luchini.
the grotesque sometimes happens stingray and loses effectiveness with histrionic Aude Van Peteghem (Juliette Binoche ). “The funny thing is schematic, are caricatures, not sociology” he said Dumont told reporters.
He explained that his fable is not limited to a reconstruction period but aims to give a portrait of humanity. “My characters, me or you.” He added: “does well laugh at himself”. AFP
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