If we judge through the sudden rise in high-concept circles, the Covid-19 shock should be the minds of many artists to this previous epidemic. In many ways, the mistakes taught us in dealing with this crisis how to deal with the outbreak of subsequent disease in a more humane way.
The first show in the competition at the Cannes Film Festival two years after the “Titane”, “Alpha” from Julia Dukorno, is one of three scientific fictional posts at this year’s festival in which an imaginary and abusive disease is allowed to reconsider the shock and tragedy in the territories of the glands. (The other two are the “plague” and “the mysterious view of the flamingo”, not to mention the films of modern art of art such as “Fairyland”, “We are all strangers” and “Jimpa”. With a homemade tattoo.
How was the needle? Was it clean or dirty? My mother Alpha (Golsheva Farhani) requested that she know her mind that belongs to the virus that turned her brother, the destroyed drug, Amin (Taher Rahim), into a marble statue about eight years ago. This is what this particular disease does, causing its victims the chalk powder, as their bodies slowly turn into stone. Alpha was five years old when Amin was injured, and she barely remembered him, confusing memories (as shown in reddish gold) with anxiety scenes of blue color caused by intimidating her current virus. They are all mixed together as “dreams inside dreams”, as the alpha poem is heard in the classification of the English language.
For fear that her daughter will be infected, the mother of Alpha-a medical doctor is committed to treating this condition that the blood transfers-rushes her to the clinic to obtain tetanus and blood tests. But it is in the late 1990s, and you should wait for several weeks for a more accurate result. Meanwhile, it seems that everyone in the alpha class in school suppose it is injured … but why? Yes, HIV can be transmitted by contaminated needles, although I do not remember anyone who is saved to get a tattoo in the nineties.
Ducounau “alpha” is depicted as another film for worship in the body in a wave that includes “RAW” (about communicating with human meat) and “Titane” (a more complex case than learning to accept the monster inside). Although all the three films are characterized by adolescents who were immersed in the irreplaceable changes, “Alpha” is not like others that the character has not reached puberty yet. She has a friend, somewhat, in her colleague Adrian (Lay El Mossi), although Alpha Hakim is to deprive him of sex – the immature young man shows a yellow solidarity towards her at school, and he sees another girl next to her.
Perhaps he was not widely known to the international fans, French speakers (Patterson “) and rahim (” Nabi “) among the most talented artists of their generation. Ducounau is both places them through Ringer here, and Rahim calls for a loss of weight-competitors, Joaquin Phoenix for “Joker”-and Farahani to play a sister who refuses to give up the lost summit that kills himself in front of her eyes.
It is painful to see such talents flowing a lot in the somewhat common roles, if not cliché by the American standards of Ende (visualizing the dynamics of the father and the unconditional son in a “beautiful boy” that expressed the deterioration of “required for a dream”). Is this a movie about addiction or AIDS? Do alpha adapt to the fear of infection or unreasonable burden of all her mother’s concern? On a hospital, you see the English language teacher (Finnegan Oldfield) and his injured partner in the waiting room, responding to a kind of sympathy that Ducounau tries to dispense with. But it is not fair that alpha is the only one who realizes what happened when you see it later crying in the chapter.
“I am very young!” Alpha finally told her mother, expressing what the audience likely felt for the entire film: It is unreasonable to put this kind of pressure on a 13 -year -old child. What about the repellent opening snapshot, which comes out of the path signs of Amin’s arm to find the 5 -year -old alpha using a mark to track a constellation of some kind across his skin. “You have caught something,” he told her, and opened his hand to detect the beetle – but if your ear recorded a double meaning, you are two hours before a movie that finds its way again and again to this scene.
In “RAW” and “Titane”, Ducournau also forced the masses to stare in the dark corners of our pamphlets, but this is no longer reasonable when a child (or a child’s actor, for this issue) is crying alongside the body I love. What will we make from an unsheatted scenes such as those in which Amin alpha withdraws from the bed and took it on a vortex with a bad journey to the Nick Cave “seat”? We suffocate with its very loud audio design, Ducournau effectively raises the mysterious bone madness in the 1990s, when gay and gay faders used in a general gathering that might start from panic.
Unfortunately, there is nothing here annoying, such as HIV transmission, which was filmed by Larry Clark in “Children” – although the scene of sex that includes a condom is still annoying, in light of the Alpha era. It would have been more powerful if Ducournau dealt with AIDS directly, instead of a process that turns the meat into marble, before it was dissolved into dust. In the end, this surreal preservation process is very beautiful, as it unintentionally undermines the atrocities that came before, providing an appetite image through which the nightmare of Dukorno can wrap.