One thing that Lou Reed said about the troubled can be used even if the film festivals: ”the First thing you learn is that you always gotta wait, the first thing you learn is that you always have to wait”.
In Cannes, it is common that the films begin with to keep the audience in anticipation. A face appears in close-up. The image is kept fixed and kept fixed. The seconds tick by. We are in the salon waiting to get to see the place and the situation.
Both the canadian Monia Chokris ”A brother's love” and the Russian Kantemir Balagovs ”Beanpole” was started in exactly this way. We had to wait in suspense. It can be suggestive. It can be transferred.
it is tempting to think of the wait in the art.
Waiting in suspense, is typical of the sort of narrower film, artistic film, or whatever you want to call it, as shown in film festivals. It can feel as if you have to wait too much at the film festival. Directors here like waiting.
at the same time, it would be wrong to say that the wait is especially explored and used in films with higher artistic ambitions. Anticipation is a cornerstone of the wide film. Fixed where it is pending in the certainty that dominates.
what voltage are: to follow a conversation at a restaurant tables, while at the same time know that there is a bomb under the table. To wait for the bang, or the rescue from the blast - the ability to master this kind of anticipation in the excitement gave Hitchcock his livelihood. Hitchcock's the point with the example was that no bomb would burst, but that the audience had to wait on it.
Very underhållningsfilm based on this kind of anticipation, anticipation of what you know will come. In ”Casablanca” (1942) tells Humphrey Bogart, ”I stick my neck out for nobody, I sacrifice myself not for anyone else”. Then, we are waiting for the whole movie that he'll sacrifice himself for Ingrid Bergman, and for their ideals.
in suspense more artistic quality than the wait in certainty? It may seem so. Waiting in uncertainty is in the non-commercial film, waiting in certainty is commercial. In Cannes awaits you sincerely yours.
though it is incredibly difficult to achieve any further strong effect of waiting in suspense. The audience's feeling for the introductory poetic protracted the image matches probably rarely the director. The same day that ”A brother's love” appeared ”Bacurau” of the brazilian Kleber Mendonça Filho - known for ”Aquarius” (2106) and Juliano Dornelles - warning, spoiler in sight! It was a kind of thriller with a political edge. A small brazilian village is exposed to a mysterious threat. A vattentruck will be fired. So found people shot. It turns out that vapentokiga foreigners paid to get in to hunt the helpless villagers as human venison.
slowly. We may early see the nasty mördargänget. We are waiting for the villagers to take. Finally they do it. A local lawless rebel be contacted. So will the scene where the two eager hunters creep on a house with a lonely old-timer. The door opened, there stands the old man with a gigantic blunderbuss and blow the skull of the first he sees.
Finally! Applådåskor, cheers in the auditorium. To see something similar after a long introductory shot at a face I'll probably wait on.