Without not only out of control, but also threatens to take the rest of the world with it, the Cannes Film Festival can be a place to play this turmoil, to see great – on the big screen, where during the next two weeks it will inevitably be. It barely matters that the films that appear at the Cannes Festival before Trump took office. Psychological films, and she was always. Certainly, a number of Cannes festival shows this year – and in fact, the festival’s atmosphere – will direct the new global turmoil.
But there is another side to Cannes. Every year, the festival presents itself as a resort, Ritzi Oasis, and a cinematic shelter from the storm. This is the comfortable bourgeois side of it. Just take a look at the official poster of this year’s festival. Perhaps you expected an old movies image that nodded her head, in principle, in principle, in the chaos that is now unveiled. Instead, the festival princes chose a pair of shots from a “man and a woman” (1966), while embracing the title characters on the beach – the vision of love that you can say is almost backward. “A Man and Woman” was not a great movie in his time; It was a fake artistic movie, which is a high collection of art arts collection. But his choice of the poster is a reminder that the Cannes festival does not always want to be at the forefront. He also wants to pave the way with comfortable food.
If there is any doubt about it, think about the movie that opened the festival tonight, “Leave one day (Partir Un jour).” It is trivial, not even completely successful with its small conditions. But oh, was it supposed to bathe you in an old glow?
Let’s calculate the methods that were “left one day” to be a backward artistic experience, but they are backward. It is a famous chef, Cecil (Juliet Armanst), which is based in Paris but is known everywhere that she was a key player on “Top Chef”, where she was final with Bisque Soufflé. The growing atmosphere of the kitchen, but Vibi repeats Jeremy Allen’s Carmy on “The Bear” is the first easy -to -use element for the film. The second is that the film, within 10 minutes, turns out to be a musician-is nothing of ancient numbers, or something after new modernity, but one of those emotional emotional plays is “realistic”, where the characters express their ideas in a way that does not exist in it. It is like the French movie John Carney with a reference to “Cherbourg umbrellas.”
“Leave One Day” has a story arranged on Cécile that returns to the village in which she grew up, where her parents, who are also chefs (but through a much lower arrangement), spend their days cooking the meat slice and Frites in their trucks restaurant and manage it for decades. (Cécile learned to cook there. The father is her TEWFIK JALLAB, and they are about to launch a new main restaurant, Cécile did not settle on a signature dish.
This feels, for a period of time, like an attractive situation, though almost protected way; Sometimes I felt that I was watching Natalie Bay from the 1980s. Considering the appetizers on the film aura, gently that its director and writer, who distinguishes the first single appearance of this is (and this is the first for the Cannes Festival match), named Amili Bonin. It is a coincidence, certainly, however, this name, while evoking for one of the last French films to become an international sense of the arrangement of “a man and a woman”, a cake “Leave one day” the spirit of sweets invitation.
If it was just a better movie! She went with her for a while, because Bonin is a graceful and flowing film director. I enjoyed the informal number of musical numbers-sometimes just excerpts-graduated from the story like fruits in the plum cake, just to return us to that neutral tone of the semi-documentary drama that was similar to the house for French cinema since the days of Maurice Biglat. Juliet Armant, a huge star of pop, is relatively new on the big screen, but she is a natural actress, with a look and aura raised Merrill Strip for decades: fast, cautious, with nervous feelings hunting almost everything.
Cécile returned to her hometown because her angry father (Francois Roline) suffered from a third heart attack, and her fake mother (Dominique Blanc) is no longer wanted to work anymore. But this is not a big struggle. However, the sauce is condensed when Cecils go to Raphael (Bastian Polone) and his companions, who was her friend in Junior Hai. These clowns still hang out and have the same old drinking parties. But Raphael, with his two -colored locks, is handsome handsome, and he and Sisil enter a kind of mysterious flirting area. Which proves, after a period of time, to be somewhat goal.
Will you finish Sisel? She declares, from the beginning, that she plans (we can definitely see that having a child will not fit with her high -maintenance lifestyle in the kitchen). But if the movie drama means anything, Cécile should evolve in a way. Eric Romer was the master of revealing how small emotional transformations appeared huge options for fate, and I think this is what Ameli Bonin is going, but instead she manufactured a movie that she did not like, in the end, moved from point A to point A. This makes “one -day leaving” a little contradiction. She wants us to get every sadness and sadness very much to change.