During the Cold War, each selection of film from the Cannes Film Festival was a diplomatic-ideological puzzle, a barometer from the state of the forces, a glamor platform of the softpower of each other. Moreover, the Cannes Festival had been founded to respond to the Venice Mostra, which has become the showcase of Mussolinian fascism. But has never been taken as much hostage by politics as today, has never been so dependent on its quality either, but personality, position – or silence – from the past of directors or actors. And the world of cinema has never been so pattern, so not very transgressive, which has become unable to shake up a conformism that dries up creativity.
As it seems far away, the micro-police that had accompanied the immense success of Fabulous fate of Amélie Poulain From Jean-Pierre Jeunet, in 2001. To this magical realistic film, he had been criticized, by a critic of inspiration, of being guilty of “latent lepenism”, and to the character of Jamel Debbouze for being called Lucien-he would have called himself a North African first name, we would have shouted in the Identity prison. Amélie Poulain is a great film, unreal, absurd, joyful, melancholy, in contrast to a political leaflet and that was the problem: to be a film that tells a nice story sad and funny, with complex, lost, obstinate characters that illustrate how much hell is paved with good intentions, how difficult it is to be happy and even more to make others happy.
A few handles of years later, Transfer window From Tristan Séguéla, a breathless and realistic thriller who examines the ruthless universe of professional football, suffers not doubtful words or an imagination crime, but with an abject campaign of defamation on social networks which reproaches his impeccable main actor, Jamel Debbouze, for not getting involved for … Gaza, penalizing the commercial success of the film – also applauded by the whole fan Criticism. Emilia Pérez of Jacques Audiard was promised a great success in the Oscars, but now the film, which checks almost all the boxes of the identity synthesis, takes its feet in non-inclusive, even hateful messages, of the main actress of the film, Karla Sofia Gascon. They earned him to be decked out, by Variety, The nickname “Donald Trump of the Oscar race”. What she writes is indelicate, rude, sometimes stupid, but the consequences for the film are disproportionate.
At the risk of shocking, cinema is lying
Meanwhile, in Mexico, the film, which tells the story of a mean Mexican narcotrafier posing as death before returning, after a sexual transition, in a nice woman who saves the world, is the object of a delirious campaign which accuses him of not respecting reality: it goes from the metal recycling truck that never spends the night in Mexico Through the Spanish actresses, a range of accents that still have nothing to do with the real Mexican spoken in true Mexico. The film is also criticized for the “transmystification”, the character transition of the character being too “easy”. At the risk of shocking you, dear reader, this is a fictional film, which is more a melodramatic musical, it is very rare in real life that drug traffickers dance and sing by committing their crimes. Emilia Pérez is neither a documentary nor a realistic film. It’s cinema: spectacle, illusion, lie. Cinema is lying. This is what we ask him: lying nicely.
Melisa Sözen, Turkish actress, was arrested by Istanbul police on February 3. She is suspected of “propaganda for a terrorist organization”. The accusation finds its source in the role of a Kurdish fighter whom she interpreted in the series The legendary office. The confusion is total, the imaginary, impossible, the free choice of an actress, prohibited, as if the role contaminated the real. The world of cinema is trapped in moral censorship, a hunt for ideological missteps, of a psychosis which can only generate totalitarian monsters – very real this time.
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