The truth: Life is an imposture | Culture

Catherine Deneuve and Juliette Binoche, in ‘The truth’.

The universality of art and talent is confirmed with figures like those of Asghar Farhadi and Hirokazu Kore-eda. Suddenly, after a solid, fundamental, wonderful career in their respective countries, the Iranian and Japanese decide to make their next film in Spain and France, and in Everybody knows Y The truth each of them seems to have always sucked the Castilian land and the hatred of the people, the bourgeoisie gala, resentment and insecurity of the inhabitants of the cinematographic glamor. And besides, while still being themselves (Farhadi had already done it in France with Last), with his personal formal and narrative style, delving into his great themes as always.


Address: Hirokazu Kore-eda.

Interpreters: Juliette Binoche, Catherine Deneuve, Ethan Hawke, Manon Clavel.

Gender: drama. France, 2019.

Duration: 106 minutes

After touching the roof with the Golden Palm of Cannes for the formidable A family affair (2018), Kore-eda has taken little time to turn his career while continuing to follow a coherent line, going to France to compose a film about the family, his specialty, loaded with subtexts, there is the mastery, with unthinkable interpreters in his It works shortly before. The truth It is a beautiful, fun and lacerating film about the imposture. In many ways: family relationships, mother and daughter; the sentimental ones, husband and wife; the professionals, among artistic colleagues. And, above all, about the imposture with oneself, with self-deception for personal survival that actually supposes a sinking when there is no true capacity for falsehood.

The director of masterpieces as After life (1998) and Nobody knows (2004), who does not know French, speaks of the divas of the French cinema, of Hollywood and the daily struggle of so many performers for a sometimes impossible stability, of the relationships between life and art in a profession where every moment you have to become in an imposter, of the ego, (in) security and ambition, of the decay of the body and of fame, and of the false ins and outs of memory. With enormous importance and with the usual complexity of one of the greats of contemporary cinema. And with a fantastic actresses duel between Juliette Binoche and Catherine Deneuve, daughter and mother, which also includes several layers of metalinguistic onions, since both must act well, regularly and even badly, depending on the degree of effectiveness of their lies, whether personal or professionals within the production that the second is filming during the story: by the way, a movie within the film that looks like the female version of Ad Astra, and in which, by chance or not, even the fiction director has a striking physical resemblance to James Gray.

In The truth Everyone lies because life is a performance. Not one is saved, from three different generations, and in a story where women have an enormous personality and men exercise vases thymors. And Kore-eda dares almost with a taboo: not to redeem an irredeemable role, and crashing into the “character arc” concept of the script manual gurus.


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