George Miller surprises Cannes with ‘anti-Mad Max’ fantasy

penultimate movie George Miller presented at Cannes, ‘Mad Max: Fury Road’ (2015) is a splendid continuation of the saga that gave it fame and perhaps the best ‘blockbuster’ of this century to date. ‘Three thousand years waiting for you’, the person who brought him back to the Croisette today, was described by him as follows. “anti-Mad Max”, so there was reason to suspect him a priori. All that being said, the comparison refers to a matter of concept, not artistic merits: If ‘Rage on the Road’ consists of a fast-paced chase where the dialogue is almost irrelevant, the new film is mostly set in one scene. which hotel room Tilda Swinton and Idris Elba They don’t stop talking in their bathrobes. And in fact, the movie tries to show, among other things, how valuable the stories we tell ourselves are to people. It’s a shame he doesn’t lead by example.

Swinton is visiting doctor of literature in Istanbul; Elba is the genie of the lamp who suddenly appears before him, and he decides to reveal his long biography spanning millennia, dynasties and continents to persuade him to make three wishes. What follows is a series of ‘flipbacks’ that take us in turn to the court of the Queen of Sheba, the Ottoman Empire and 19th century Turkey. Both with the stories that followed and what happened after the couple finally left the room, Miller seems to want to talk to us about how necessary our desires are. and the dangers they entail, how our dependence on technology and science separates us from what truly makes us human, and above all, from love. At least that’s the idea. The kitsch and ‘new age’ touch, influenced by the flowery dialogues, in any case interferes with this.

Meanwhile, Miller shows his inexhaustible imaginationFor the eccentric, he usually has pleasurable taste, but for this typical aesthetics of perfume ads: Variegated compositions, altered images based on chromatic saturation and hyper contrast, and special effects that pride themselves on their artifacts. Some call it beauty.

Against the filthy rich

Thanks to titles like ‘Play’ (2011), ‘Mayor of Fuerza’ (2014) and ‘The Square’ (2017), which awarded him the Palme d’Or at this festival, Ruben Ostlund He has confirmed that he is a particularly relentless observer of human social behavior, and especially of our weaknesses and stupidity. and its characters ‘Triangle of Sadness’, The ones presented here in the competition today are probably the most ridiculous of his entire filmography, largely because they are millionaires. After all, the luxury cruise ship the story revolves around includes a Russian oligarch who has declared himself the “king of shit” among its passengers, and a polite elderly couple who complain about how the new laws are hurting the anti-anti-sales business. personnel mines; It makes sense that when the time comes for the Swedish director to decide that such people deserve harsh punishment, which means turning them into victims of a vomit and excrement pandemic, among other delicacies.

As Östlund watches them generous and almost always the right doses of dark humor and satire. Sometimes it’s true going out of hand; some ‘gags’ go far beyond what the comic event would suggest. But that doesn’t lessen our morbid pleasure at seeing the filthy rich, handsome, and luxury disperse, as evidenced by the huge applause the film received at its press release.

Source: Informacion

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