Cannes Film Festival 2016: Filmmaker released – La Voz del Interior

Here’s another new teaser movie Bruno Dumont. Who would say only about five years ago that the director of Life of Jesus and Hors Satan would comedies? In which premiered Friday at the Cannes Film Festival, Ma Loute , the character of Valeria Bruni Tedeschi, flies through the air like a winged virgin and an obese inspector called Machin flies over the beaches . bay Slack like a giant blimp drifting

delirium engulfs each plane and organizes a story of contrasts: the morons acts of the decadent bourgeoisie represented by the Van Pethegem family, which has left holiday, are measured by the customs and work of fishermen in the region. The contrast is repeated in another way: an anachronistic state of innocence permeates the lives of the characters and also some of them do not know the vileness. Coastal, for example, practice a peculiar form of cannibalism. The taboo is absent.

The above genius of Bressonian Dumont was a great comedy titled P’Tit Quinquin . In that film everything it worked perfectly and to some extent were several notes today. the distinction and class tension: Ma Loute , whose story is set in 1910, a universal theme is reinforced timeless. The rich are sophisticatedly stupid, the dispossessed, gross, but the director looks at each side with a venerable kindness.

In addition, our planet is not junky or a wasteland. The locations of Ma Loute constitute an uninterrupted viewing pleasure: the beaches, the heavens and the vastness of the fields look pristine and beautiful.

The center of the story is a love story between Ma Loute and Billie, a beautiful young woman who is not exactly a woman, perhaps a more appropriate sign of the 21st century than the previous. The rest are vignettes, some more or less comic, accompanying inspector investigations aimed at clarifying the recent disappearances of several visitors.

Everyone talks about the good level of competition. Everyone is smiling. At the press conference, Dumont was smiling, and with him all his cast. Juliette Binoche’s sympathy was undeniable and inversely proportional to his character in the film, the most unbearable of his career.