provides michael mann to bring the life of the auto magnate to the screen Enzo Ferrari That was his effort for three decades, in other words, before directing such impressive films as ‘Heat’ and ‘Collateral’. That’s why it’s hard to understand ‘Ferrari’Presented at the competition in Venice Mostra, this film represents the culmination of an ostensibly personal project for the now eighty-year-old director. a film that fails to convey personality, energy, and passion.
Here, Mann focuses on a single year in the businessman’s life, 1957; “The year in which many conflicts collided that greatly marked his life: his company was on the verge of bankruptcy, his son had just died, and their marriage was on the verge of destruction,” he explained to the director at a press conference; Adam DriverThe protagonist of the film, who managed to attend its presentation at the festival despite the strikes that stopped Hollywood, was given permission by the Actors Guild to be part of ‘Ferrari’. An independent production not affiliated with the US manufacturers lobby— and he said he used one of his interventions to criticize the stance of companies like Netflix and Amazon in the conflict.
It’s clear that Mann found Ferrari a fascinating man, but the movie’s portrayal of him doesn’t give enough reason to believe him; and the rest of the characters tortured wife playing Penélope Cruz, who does not travel to Mostra for “personal reasons”, is just sketches. This psychological simplicity is one of the reasons why ‘Ferrari’ is so conventional and irrelevant; the other is that although the director is an artist who is extraordinarily talented in visual storytelling, he offers neither a staging idea nor an official exploration, even in the successive car race scenes the footage contains. As of today, Mann’s plans to direct ‘Heat 2’ doesn’t seem like a good idea.
Vampire Pinochet
new edit Pablo LarrainThe team competing for the Golden Lion is both more interesting and disappointing. After all, he came to Mostra wrapped in expectations for two reasons. The first is that the Chilean filmmaker is exploring this subject once again. his country’s traumatic pastand all of his previous work on the subject – ‘Tony Manero’, ‘Post Mortem’, ‘No’, ‘El club’ and ‘Neruda’ – dazzle with their creativity and ability to disturb; the latter, which is built on an absolutely brilliant event.
Especially, ‘To count’ imagine the dictator Augusto Pinochet as a vampire After surviving for over 250 years and continuing to kill his people—his death in 2006 was a montage—he decided he wanted to die; He’s tired of being treated like a thief by the Chilean people, being an ATM for his wife and five farm workers he had as a child. Explaining his proposition today, shortly before comparing that tyrant to another dictator Francisco Franco, Larraín assured that “Pinochet never faced justice, and this impunity has made him eternal, turning him into a vampire”: “They share the joy of evil and little intelligence; they were the clowns of other power groups who wanted to put or support it”.
The problem is that this first event contains all that El Conde has to offer for much of the image—until another event enters the scene, which cannot be detailed here—and he stretches it out without reaching. stripping it of all its satirical possibilities, it moves as quickly as it lacks direction and purpose, treating the characters as if they were actors improvising scene by scene in a school theater troupe. 50 years after the coup against Salvador Allende, it is a shame that a film with such a director and such a starting idea does not grind its teeth more, given that Chile does not give an account of its past. depth of the subject.
Luc Besson, to the limit
Just like his new movie ‘The Count’ Luc Beson the beast talks about the physical and psychological destruction that men can cause, and uses an obviously insane premise for it like himself; the difference is yes ‘dogman’ It takes from you as much as it needs to work. French cinema is full of absurd stories, but few are as absurd as this one tells. a mix of religious parable, scary story, and pure jokeBetween ‘Silence of the Lambs’, ‘Equalizer’, ‘The Adventures of Priscilla Queen of the Desert’ and ‘Paw Patrol’, the movie features a kind of destructive angel who maintains nightlife or entertainment in a wheelchair. She helps him with the care of dozens of dogs who help him in both his vigilante and criminal affairs, or in the ‘drag’ cabaret scene imitating Edith Piaf and Marlene Dietrich.
So on paper, ‘DogMan’ is a film destined to be ridiculed, but the truth is it’s hard to resist, both due to the belief held by Besson, who has so far highlighted this plot with his appearance in Mostra. Although accusations of sexual abuse continued to be planned against him, it did not create the expected controversy, primarily because of the actor’s miraculous talent. Caleb Landry-Jones raising an impossible character. However, his presence in the Golden Lion competition is nonsense.