Anyone has a family. And more or less revelatable thoughts about her. Not everyone, however, know how to tell it as Jim Jarmusch. Not much less: the filmmaker today obtained the Golden Lion of the 82nd edition of the Venice Festival with Father Mother Sister Brother, A triptych on the most universal, intimate and strange environment of the world. There was no need for another recognition to confirm the unique talent of the American creator, at 72. Or maybe yes, because his ironic, subtle, sensitive and deep style has found more followers than awards. The victory in the Mostra, somehow, agrees to cinephiles and palmarés. Only geopolitics suggests a discrepancy: Hind’s voice, Kaouther Ben Hania, who tells the real murder of a Palestinian girl at the hands of the Israeli army, stayed with the jury’s grand prize, a single passage of triumph. It was, yes, the festival movie. Maybe the year. Without a doubt, of the moment.
He had the second most important award, so that the screams of the small resonate to the ears even those who still do not want to hear, if any. Or in the rest of the awards season. Not only the story, with the two beans, asked to give him the main recognition. For film quality I would have deserved it too. Alexander Payne, president of the jury, acknowledged him at the subsequent press conference: “We cannot give a from the level. If we had voted the day before, or later, it could have been different. We treasure, value and protect in the same way in our hearts. If one had to receive one prize and the other is for 0.0000000000001%. ”
The greatest ovation of the night, in any case, welcomed Ben Hania on stage. “I dedicate this to Red Moon and those who have risk everything to save lives in Gaza,” he started. “The cinema cannot bring it back. But preserving its voice, making it resonate between borders. It is not only its history, but that of a population that suffers the genocide of the criminal regime of Israel. This is not only going by heart, but of urgency,” he added. Today the destruction of Ciudad de Gaza continued, until it was emptied from its last inhabitants.
It was January 29, 2024 when Netanyahu’s troops riddled a car at a service station in Northern Gaza. All passengers died, except the youngest. Medico Red managed to call a mobile inside the vehicle, and answered Hind Rajab. He begged them again and again to save her, they promised him that they would do their best. Against the clock, and a thousand more obstacles. The end can imagine even who has not read the news: it is the same as thousands of other Palestinian children. The event, however, was recorded: in memories, but also in audios. When he listened to them, Ben Hania felt “helpless.” And the moral obligation to build a film about them. So Hind’s voice that is heard in the length is the real one. And that of all Gaza, according to the filmmaker. He also read a few words from the girl’s mother, who continues to live in Palestine: “I would like to be there. (…) Hind’s is not the only story like this in Gaza.”
Then, it was the moment of Jarmusch. Peculiar even before the biggest award of his career. His first words were: “Oh shit.” And, among other things, he said: “When I arrived, I sent messages to several friends, saying: ‘I am in Venice, a mysterious place, Vivaldi’s birth site, Casanova or Terence Hill.” The creator is always defined as independent: companies just want money to film, the rest is established. Maybe that’s why Oscars have also regularly turned his back. He won prizes in Cannes, but never such a triumph. And with a film, in addition, that it was very similar to the original idea he had, he said.
Three delicate, tender chapters, about fathers, mothers, brothers and children. About grudges and affections, insecurity and pressure, hugs and distances. Not even the movie speaks much: Jarmusch says almost everything with images and silence. Even in his speech he ended up losing words. Before, he made it clear: “Art does not have to deal with politics directly to be a political. It can generate empathy and connection between us, which is the first step to solve things.” In the subsequent press conference, the director clarified that he will not let Father Mother Sister Brother It can be seen in “no organization” that receives financing from the Israeli government, while accused of contributing to finance the destruction in Gaza.
For the rest, the awards cast gave a few surprises. The greatest, perhaps, in the address: it was for Benny Safdie, by The Smashing Machine. It is commendable to encourage a filmmaker who for the first time has launched himself to film alone, without his brother. Not so much, however, when he competed with the mastery of Kathryn Bigelow in A house full of dynamiteYorgos Lanthimos en Bugonia o Park Chan-Wook in No Other Choice. There were, ultimately, much more notable addresses. Even in Safdie’s own career: The celebrated Raw diamonds, Without going any further. In The Smashing Machinetells the real story of Mark Kerr, who at the end of the nineties was mixed martial arts champion, a peculiar sport where each fought with his own technique. At the same time, the length intends to talk about victories and defeats, pain and forgiveness, that the most important struggles are far from the quadrilateral and do not win with steel muscles. Something already seen: what, but also how Safdie films it. Perfect for Hollywood, where you surely continue to collect prizes. Disappointing for a cinematographic art show.
Paolo Sorrentino himself could well win the award won Safdie. Or any other, because Grace It has everything: direction, script, interpreters, music. Cinema of the best, even in the filmography of the Oscar award for The great beauty. He finally achieved the Volpi Cup for the best actor, for Toni Servillo. Most recognition in the actor’s career, in his seventh collaboration with the director. “I thank, first, to Paolo. Now you will laugh but I have tried to serve you, within the limits of my abilities,” he said from the stage. “All my admiration for those who have thrown into the sea to reach Palestine, to carry a sign of humanity in a land where human dignity is vilified daily and cruelly,” he added, in reference to the civil flotilla that sails to Gaza.
In Grace, Servillo plays Mariano de Santis, a president of the Italian republic as delivered to institutions as to apathy. “I am the most boring argument I know,” he says in the film. The only thing he loves more of the laws is the memory of his beloved Aurora, who died eight years before. It rises as a monument to containment and seriousness, a model that Sorrentino confessed to miss today. But the film shows that even reinforced concrete, as they nicknamed, can feel light. Like the public, which enjoyed the length at the inauguration, and left the cinema walking above the ground. At least a while, until life would be anchored again to Earth.
To the protagonist of The Sun Rises on Us All, de Cai Shangjun, Its existence is even buried under concerns. A pregnancy that does not prosper, a store that does not take off, a lover that does not leave the wife. And, suddenly, an ex -husband who reappears to sink it even more. After reflecting so much pain on the screen, the interpreter Xin Zhilei took a joy: the Volpi Cup to the best actress. A trophy to humility was also won: the first thing he did from the stage was to present himself, with name and surname, to the stalls. Although he also showed a tenacity worthy of award: he cared at all the music that he climbed, to invite her to leave, there he stayed until he wanted. He said that he had long since dreamed of such a moment and came to mock her for that: the final laugh has been his.
The script recognized Valérie Donzelli and his co -author Gilles Marchand, for Feet. And, with them, to another conversation that crossed the entire festival: about human stupidity. Or, vice versa, the cunning of capitalism. In the film, based on the homonymous novel Superventas in France, Franck Courtès, a successful photographer leaves everything to become a writer. Although it ends rather caught in endless work as hands, and in the algorithm of the platform that is provided. He loses money, health, but also status: neither his own family wants the old winner as the current defeated. Certainly, the script is the highlight of the film quite conventional. Another thing is that it was the best in the contest.
From the schemes, on the other hand, Gianfranco Rosi almost always comes out. To the point of offering an unprecedented vision even from Rome, the eternal city: Sacred grain He obtained the Golden Lion in 2013. Naples has also been said everything and the opposite. But, once again, the Italian documentary filmmaker has managed to narrate it in his own way Under the clouds (Under the clouds). That is why the jury reserved a special mention. Regarding his improvised gratitude, years ago, he now brought a prepared speech: he dedicated recognition to non -fiction cinema, and who films it. He spent three years with Under the clouds. Of course, Vesubio, Pompeya, the famous Bahia, unuditing beauty, spontaneity and chaos appear. But Rosi tells it through firefighters, archaeologists, grave looters or who hunt them. A black and white look. And, above all, unique.
Luna Wedler will turn 26 in a month and a half. But the Mostra advanced a gift: Marcello Mastroianni Cup for the best emerging interpreter. By Silent Friendby Ildikó Enyedi. The film reflects on the relevance of plants, throughout three stories set at the German University, at different times: 1908, 1972 and 2020. Wedler stars in the oldest story, and embodies the first woman to access the institution. A prepared young woman, capable of facing not only the exam, but the fierce opposition of patriarchy, and finally becoming a photographer. The actress has also showed her talent. Although emotion made him forget the speech he had prepared. He left the step with many thanks. You will have to keep track of it.
Along the wayby Mexican David Pablos, he won as the best film in the Horizontes section. AND Ivyof the Ecuadorian Ana Cristina Barragán, with Spanish co -production, he won the best script in the same section. In addition, the Amani Beauty spectators award raised Malaga streetfrom the Moroccan Maryam Touzani. Surely the extraordinary interpretation of Carmen Maura, at 79, contributed to the success of the length. The delivery was preceded by a tribute to the designer that gives the name to the award, who died at age 91. And the filmmaker remembered her own duel, since she lost her mother. Then, Tauzani denounced the massacre he suffers to Diario Palestina and asked for his end. Before and after, a good part of the winners reinforced the same message. No jury was needed to agree on reactions: there were always applause. Regarding a palmarés there are different visions. Before a killing, no.