French in almost all the films he directed during his career. Michel Hazanavicius He devoted himself to paying homage to other films, always with the intention of reproducing rather than reinterpreting; his signature stamp is the allowance. The ‘OSS 117’ minisaga, which made him taste success for the first time, reinvented the style and narratives of the first James Bond films; ‘The Artist’ (2011)he emulated the ‘look’ and rhythm of silent Hollywood movies that had brought him to stardom; and Jean-Luc Godard’s ‘biopic’ ‘Bad Genius’ (2017) borrowed aesthetics from some of the Swiss filmmaker’s work, but didn’t bother to really explore his personality. And this recurring attitude towards the movies that inspired it serves to explain. both the good and the bad side of his new fiction.
In charge of the opening tonight 75th edition Cannes Film Festival, ‘To cut!’ The ‘remake’ of ‘One cut of the Dead (2017)’is a very low-budget Japanese zombie comedy that was once acclaimed by fans of the genre—its presentation at the Sitges festival was a party—and has become a cult hit today. It is impossible to describe this little gem without falling into it.spoilers‘ and take this as a warning to the most discerning readers about it: in its first chapter, the walking dead short film is attacked by a horde of undead, and completely replaces the third to reveal himself as a dead man in the second. endearing satire on the collective effort demanded by the moviesespecially those made in haste and with little opportunity.
Surprise guest from Zelensky
If Volodymyr Zelensky made a surprise appearance at the Oscars, why didn’t he stop by virtually at the opening ceremony of the Cannes Film Festival? Reflecting on the giant screen of the Grand Teatre Lumière, the President of Ukraine asked the cinema not to “keep silent” in the face of “the most terrible war since the Second World War”. great speaker’ (1940). “We need a new Chaplin to show that cinema is not silent,” he added.
‘To cut!’ he not only reproduces the story of his model, his means of expression and his love of ‘cinema’; also the characters, almost all the situations and even most of the jokes; sometimes exaggerating a little, It can be compared to the single ‘remake’ of ‘Psychosis’ (1960), directed by Gus Van Sant in 1998., if that film hadn’t tried to reflect the changing nature of authorship and cinema, this film was aiming for little more than to start a few laughs. It is true that its footage exceeds the original Japanese film by 15 minutes, but this extension does not provide any relief and instead breaks the narrative rhythm of the film.
mood of fraud
There is one more difference. ‘A cross section of the dead’ was drawn at four yen in six days, and much of its effectiveness as a metatext exercise lies precisely in its limitations; It is a self-portrait of guerrilla cinema. ‘To cut!’ It was shot in six weeks with the stars of French cinema and an air of deceit in it. It is true that most viewers who go to see the film will do so without ever seeing the previous one, and the effectiveness of the film on its own is indisputable. In any case, asking is inevitable. Why did Hazanavicius want to make a film that showcased intelligence and humor that didn’t really belong to him?. None of the answers that come to mind are honorable.