Cannes Film Festival – Deadline

Cannes Film Festival has taken a worthy step in the competition with Lucas Dhont of Belgium Off, Only his second film – a minimalist melodrama that shows a definite increase in visual style but intentionally relentless, can be confronted by someone with Eric Rohmer-SK aesthetics. The international success of Dhont’s well-thought-out debut GirlAbout a young trans-female ballet dancer, there was some bluntness in the United States, where GLAAD exacerbated allegations of misrepresentation by the trans lobby. Off This is a very safe proposition, but it can still be a source of frustration for a young person.

Undoubtedly excavated from personal experience, it stars newcomer Eden Dumbrin as Leo, a 13-year-old boy who lives in a rural chat with his best friend Remy (Gustav de Ville). The Leo family runs a flower farm, and the flowers are a constant motif everywhere, growing, blooming, threshing or picking and packaging. The two boys run wild in this bucolic wonderland until the first day round of a new school arrives. Eden and Remy’s closeness is immediately commented on, but although the pair are teased, their classmates never tease.

Nonetheless, Leo is uncomfortable with attention, and although Dhont’s film can certainly be read as a subtle metaphor for the frustration of being a young gay teenager (Dambrin a spit for his director), Off A film about really losing innocence and dropping childish things. Leo starts to move away from Remy and after a game fight which will be much more significant later, he joins an ice hockey team. The camera never moves away from Leo’s side, and after being significantly away from Remy, often on school trips to the beach, he returns to his mother with the simple but devastating news that Remy is “no more here”.

The play, which follows Xavier’s oscillating touches, emphasizing mothers, and especially Remy’s mother Sophie, returned to Cannes with Emily DeQueen (1999 winner of Darden Brothers’ Palme d’Or Best Actress) returning with a shattered silence. Rosetta)

In keeping with the theme of a boy’s movie in Threshold, we never find out what happened to Remy – there are details here and there – because adults are being protective. No reason, but Leo is convinced that he is the reason: that Judas betrayed his friend.

Dhont’s baby eye vision may be a little repetitive and not particularly groundbreaking; In fact, some scenes from the film’s school are reminiscent of last year’s Underrated Uncertain Regard title. Playground By fellow Belgian Laura Wandel. Similarly, the film’s continued internalization of such an emotional issue could alienate those who prefer their mourning to Mediterranean style, such as Nanny Moret’s over-cooked ear hit Boy’s house (Although the school encourages her classmates to open up about their harm, Leo refuses to join in their over-observation about a boy they rarely know).

But the film’s slow pace will reward the patient as its ending expands as we begin to realize that only Sophie can understand her loss এবং and vice versa. But can they ever communicate that bond? The excitement caused by being exposed almost entirely physically in a very non-verbal film sets things up for a highly emotional but cathartic climax.

One of the strongest films to premiere in this year’s competition, Off There is a huge potential for rewards across the board. Sad to say, it will be what they need; Can Laurels will do just that, because, for this intimate film, only Pam D’Or really counts. Is Off Short film that could? On the bright side, it could just be very good.

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