“My first impulse was to go Saint Sebastian and don’t leave the movie alone My team and I have been working on it for many years. But I realized that my presence could overshadow their reception,” she says. Ulrich Seidl announced that he canceled his visit to the San Sebastian event yesterday; Given the charges against him, having committed child abuse during the filming of her new feature filmAustrian filmmaker said his absence from the festival ‘Sparta‘, one of the fictions competing for the Golden Shell this year “speaks for itself”. Probably too much to trust; For someone who knows how to argue, it is extremely difficult not to keep them in mind while watching the movie. And if it weren’t for the controversy, ‘Sparta’ would undoubtedly be considered one of the director’s best works in a much more general and incontrovertible way.
His hero is a adult who feels abnormally attracted to minors. Seidl never clarifies whether the pederasty had pederasty before, but everything indicates that this is not so. In fact, the central theme of ‘Sparta’ is this man’s terrible battle against his impulses, perhaps realizing that once he loses the first battle he will no longer be there. From the beginning, we see her succumbing to the temptation to approach her potential prey and begin to force physical contact and even intimacy with them in an attitude that barely manages to hide her predatory profession before she realizes what’s to come. do it and it’s backfired, it’s broken inside.
The man moves from Austria to Romania under the pretext of caring for his elderly pro-Nazi father, who is in a mental institution, and soon enters a dilapidated school to give free judo lessons to children. Instead of teaching them, he dedicates himself to photographing them bathing in their underwear, fighting in gladiator dress, showering them naked; He definitely thinks he’s saving those kids from their parents, from drunken abusers. At night the pedophile contemplates photographs obsessively.
Seidl is accused of hiding both the child actors and their parents about the theme of ‘Sparta’ and therefore exposing them. nudity and violence With a bad mouth; denies everything. The content of the movie offers no evidence. There will be those who accuse him of immorality even though it’s the other way around, because he’s clear when it comes to clarifying the issue. pathology his hero. There will be critics for humanizing a monster, despite the fact that real monsters are always human, and that’s exactly what makes it such a disturbing, horrific and tragic job, a sign of artistic maturity in a director’s work. used to laughing childishly at too easy targets. Of course, if the accusations are true, they’ll go after you.
ways to cry
this dueland the different ways of dealing with it is one of the most recurring themes in cinema in general, and it particularly seeks awards because it invites the solemn and melodramatic excess that honorees tend to be. like a lot. And, interestingly, the certainty that both attitudes avoid is “almost certainly a good part of what can make room”forever‘ on the list of winners from Donostia. Danish director Frelle Petersen’s third film begins by introducing us to a lovely family of father, mother, daughter and son. Soon, the son died. Father and daughter find it easy to keep the memory of the deceased as alive as possible; the mother also manages the loss as best she can and vice versa. And the film finds great emotion without restraint as it manages these contradictory attitudes. And in itself, it suggests that all existing protocols regarding bereavement are nothing more than selfishness and poise.
‘Forever’ defies the conventions of the genre to which it belongs, ‘Il Boemo’ embraces those that belong to them without complexes. The third of the contenders for the Golden Shell presented today is a ‘biopic’ that is happy to be. And his aim is to justify the figure of Czech composer Josef Mysliveček, king of Italian opera in the 18th century, whose ill-fated life was used by director Petr Václav to prove the value of art as therapy and refuge. Given the nobility of that purpose, it’s a shame the film feels so traditional and leaden in trying to achieve it.