The festival is an event like Lumiিয়re, with its elaborate transmissions that classic films and previews rub on the shoulders with very recent and flashy new titles, always going to boast of hidden connections and amazing collisions. This year, for example, you can go see “8 watching”, metaphysics about his relationship with Federico Fellini’s 1963 filmmaking, and autobiography (among other things) about his relationship with Paolo Sorrentino’s 2021 directly in “The Hand of God”. . You can star in Franোয়াois Truffaut’s Antoine Dowenel, starring Jean-Pierre Loud, and then you can see Gaspar No’s “Whirlpool”, which features a great Francois LeBron, who is Jean Eustace’s “The Mother and the Whore.” Is best known for its role of. , “Where he acted opposite her.
Such coincidences and consistencies are part of the joy of a film festival, but sometimes they can point to something deeper. This version features a rediscovered and restored classic from Japanese director Kinuyo Tanaka, who appeared in the films Ozu, Narus and Mizoguchi, who starred alongside a former Lumiere Ida Lupino in the movie, Elsewhere You Find Rebecca Hall and Maggie from Sampik Can get. Gillienhall, gives a definite feeling that Lumiere 2021 is a festival of actresses to directors.
Hall’s “Passing” Sundance premiered earlier in the year; Glennhall’s “The Lost Daughter” bowed in Venice, where for the first time the writer-director won the Best Screenplay award. Both films deal with themes that are personally and deeply felt by their directors, but not autobiographies; In fact, both are based on the acclaimed female novelist Panacea (the book “Passing” is adapted from Nella Larsen’s 1929 novel of the same name; “The Lost Daughter” is a 2006 book by Elena Ferant). But while they may in some ways be spiritual spirits বিশেষ especially in their focus on the full nature of female friendship, the films differ from each other in approach and implementation, though .
In “Passing”, shot in bright, bright black and white, an impressive charismatic Ruth Nega plays a young, light-skinned black woman in New York in the 1920s who prefers “Pass” to white, her hair color. And severed ties with him. His past. Tessa bumps into an old friend playing Thompson’s beautiful, watchful caution, just as her Harlem begins to wear her household for her childhood, and sets the clock to a slow pace towards tragedy. The view of the hall is wonderfully subtle; With “The Lost Daughter”, Gillenhall chooses a spooky, less classical style that still creates another brace of performances that deserves a place among the best of the year. Olivia Coleman plays Leather, a middle-aged academic who goes on a solo vacation to the Mediterranean island and makes a strange correction on a glamorous young mother (Dakota Johnson). And when you think that no one but Coleman can play such an opposite character, Jesse Buckley has shown you to prove you wrong, playing the small leather with such a perfect emotional match with Coleman’s portrayal that the physical inequality of the actresses is not important at all.
These two remarkable films are all about discussing women with the shadows of the past, and so it is appropriate and delightful to see them in context as well as Tanaka and Lupino. It makes a calm but persuasive statement that cuts through both, bringing old films to new audiences and creating some continuity with film history for new films that traditionally strive to recognize the contribution of women, as soon as they move in front of the camera.