Adventure of George Miller, 2h28
Furiosa (Ana Taylor-Joy) is the anti-Barbarella. This child was taken from her family because she wanted to pick a juicy peach. The image is strong. The peach replaces the apple. For any reward, this new futuristic Eve will be kicked out of paradise. Too close to a group of roaming bikers, Furiosa is kidnapped. No matter, this girl, as determined as she is silent, will vow to return home whatever it costs.
Once the scene is set, the plot is triggered, Miller creates an avalanche of action sequences, each more crazy and inventive than the last, choreographed like a Baryshnikov ballet. The explosions are orchestrated like jubilant and poetic fireworks. The more power she acquires, the more Furiosa becomes emancipated. In the postapocalyptic universe, post-MeToo also reigns. His romantic journey is an odyssey full of scope and warlike frenzy that spans fifteen years. And we understand why the filmmaker has never stopped claiming that his feature films question spectators not about the future but about the present of humanity.
Also readOur review of Furiosa: a Mad Max saga: a digest of action and fury
Comedy by Christophe Honoré, 2h00
Christophe Honoré, with Marcello Mio, offers a funny journey through appearances. The film, in the running for the Palme d’Or, is presented in Cannes on Tuesday evening. The environment is limited to the Deneuve-Mastroianni family and the 6th arrondissement of Paris where everyone seems to live. And where everyone plays their own role. Chiara Mastroianni is therefore this “daughter of” actress before being herself. People keep telling her that she looks like one or other of her famous parents. She speaks with machine gun flow like her mother, but loves abandoned animals, like her father, Marcello Mastroianni. When, during an audition, Nicole Garcia angrily tells her, “play Mastroianni more than Deneuve,” she breaks down and takes her at her word. She becomes Marcello, or rather the ghost of her father.
Also read: Marcello mio: Italian role-playing games
Lately, cinema likes to use itself as a model. The Second Act, Quentin Dupieux’s spicy and clever comedy, opened the Cannes Film Festival with fanfare. This Marcello mio, presented in competition, offers a fanciful vision of a completely different kind, but which does not lack charm.
Also readChiara Mastroianni: ““Marcello Mio” is a joyful spiritualism session with my father”
