Cannes Diary #4: Narcissism at its finest and worst
Saturday, May 21, 2022 at 3:00PM by Elisa Giudici
Today is the day in which we explore collateral selections, not that willingly. As mentioned in Cannes Diary #1, this year the Festival organization changed the ticketing system. This ended the long lines (a win) but the downside is that the more hyped movies are harder to get into. Nevertheless, I'm happy to report my experimentation went very well! Truth be told, the Un Certain Regard section can be barely considered a “collateral” section, since it famously offers high-quality selections from soon-to-be major auteurs. The major letdown of the day, was ironically, the only title from the Main Competition I was able to get a ticket to on day four...
WHEN YOU FINISH SAVING THE WORLD by Jesse Eisenberg (US)
CRITICS' WEEK
Strong Gerwig’s Ladybird vibes in this one, which first premiered at Sundance. But I confess I enjoy Jesse Eisenberg’s directorial debut even more, due to its higher level of narcissism. When You Finish Saving the World is a comedy about a family of three who are completely absorbed by themselves, living together but at the same time unable to connect at all on an emotional level.
Finn Wolfhard and Julianne Moore are a fantastic, dynamic duo, playing a mother and a son so desperately trying to find in a stranger what their family is not providing: not love but admiration, fuel for their hedonism. The son Ziggy is a songwriter and live streamer who wears his merchandise even to go to school. He's madly infatuated with a political activist in his high school, but he knows even less than Jon Snow did. Even talking to her proves an impossible task, underlining how much Ziggy is unable to focus on something outside himself.
The mother Evelyn built a shelter for women victims of domestic violence, and her entire existence has revolved around helping others. Yet, she is so rigid and self-absorbed by the seriousness of “her mission” that her secretary fears for her job when the boss tries to make small talk. Moore and Wolfhard simply sell the whole package, being the proxy of Eisenberg, whose comedic touch (even the way of speaking) is always perceivable. The only disappointing thing about this indie comedy from A24 is the incoherent ending chosen by the director, suddenly discovering two decent human beings inside two hedonistic monsters.
CORSAGE by Marie Kreutzer (Austria)
UN CERTAIN REGARD
Marie Kreutzer's witty, sophisticated costume drama is (at this writing) my favourite of Cannes 2022 by far. Corsage is a retelling of the last years in the life of Empress Sissi of Austria. It's set in the very same time period as Kirill Serebrennikov’s competition film Tchaikovsky's Wife. In Corsage, we observe the beyond-scrutinized Empress Elisabet, a 40-year-old woman with a wasp-like waist. Everyone casually comments on her age, weight, and behavior. Even her young daughter, still a child, won’t cry in front of her mother because “it is not polite”. Elisabeth is a sad, melancholic royal who has never fully recovered from the death of one of her children and often has suicidal thoughts. She is, essentially, a good princess gone bad. In fact she could teach lessons to Sofia Coppola’s Marie Antoniette on how to royally misbehave. Some critics may find Corsage too pleased with its own wit, but I loved the complexity and the contradictions.
Elisabeth is suffocated by a world that judges her, so she tries to regain control of her life by fasting, taking her slenderness to the extreme. Her kink is to be seen and adored by people who either desire her or admire her beauty. No matter who or why they're looking, it's all the same to her; she can find it in her husband’s or lovers’ eyes, from her small council of maids and confidants, and even from women in an asylum or wounded soldiers on the front lines. She is as capricious and manipulative as a person can be. And yet, though she appears to love her dogs more than people, she can be a good mother, unforgettable lover, and fine politician. Vicky Krieps (Phantom Thread) is phenomenal in this role. Corsage should have been in the Main Competition; the prolonged cheers at the end of the screening prove it.
THE STRANGER by Thomas M. Wright (Australia)
UN CERTAIN REGARD
If you are in the mood for a Fincheresque, Prisoners kind of thriller based on a true crime story, this Australian movie featuring Joel Edgerton will be just what you are looking for. The gloomy prologue leads to a thriller filled with tough men who hide terrible secrets or deep traumas behind their sharp looks and long beards. Discovering exactly what type of organization has joyned the equally mysterious Henry (Sean Harris) is kind of the point here, so suffice to say it has an incredible yet true story to tell. The Stranger lacked the narrative depth or artistic touch to be a groundbreaking title within its well populated genre but it is surprisingly polished and ambitious. It is good, quite good indeed.
FRÈRE ET SŒUR (Brother and Sisters) by Arnaud Desplechin (France)
COMPETITION FILM
Though my expectations were already low, Desplechin managed to ambush me anyway. Frère et Sœur proved mesmerizingly death-toned, absurd, and paternalistic. The titular siblings, a writer and an actress, are played by Melvil Poupaud and Marion Cotillard. They hate each other vehemently... but why? As in a lot of family feuds, the root of this familial war is a mystery. Unfortunately so is the movie. Why should the battle between these two narcissistic bourgeois matter to us? Unlike Eisenberg's film, which is also about self-absorbed family memberss, Desplechin tells his story without irony, as if it's all utterly important and relevant. Why is he so fixated with White Savior complex? He creates the character of an adoring poor Romanian girl (Cosmina Stratan) and her sole purpose appears to be the adoration of Cotillard's actress? Cotillard's character will later travel to Africa to find herself and the Africans will always be smiling in her presence. At the end of the screening, not a single person clapped (unusual for Cannes), and someone softly booed. But mostly we remained in silence, deeply embarrassed by what we'd just seen.
more tomorrow
Day 1 Opening Night, Coupez!
Day 2 Tom Cruise, The Eight Mountains, Scarlet
Day 3 Armageddon Time, EO, Tchaivosky's Wife
Day 4 Corsage, Brother and Sister, When You Finish Saving the World
Day 5 3000 Years of Longing, RMN, Triangle of Sadness, Boy From Heaven
Day 6 Holy Spider, Men, Smoking Makes You Cough, Marcel!
Day 7 Decision to Leave, Crimes of the Future, Forever Young
Day 8 Silent Twins, Tori and Lokita, Nostalgia
Reader Comments (5)
I couldn't be more excited for CORSAGE. Indeed, after reading your thoughts, it might be one of my most anticipated movies of the year.
Sad about BROTHER AND SISTERS. Desplechin's career is on a downward trajectory, it seems.
I feel like Cotillard has been in a bit of a slump lately.
Corsage is the film I want to see. Shame about Brothers and Sisters as I've only seen one film by Desplachin so far in that Christmas movie which I thought was really good. I hope to have the time to see his last film with Lea Seydoux. I heard the film with Gaspard Ulliel that played at the Un Certain Regard section is awesome as I heard it is a great finale for him.
@thevoid99
I plan to catch both movies with Lea Seydoux with good reviews (the one you mentioned and Hansen Love's one) in final days, if I manage to take the tickets. Wish me luck!
...and I am alway hope to suggestions. ^-^
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