Matteo Garrone’s also “reality” that paints a surreal picture of Italy after Berlusconi convinced.
Views and needs to miss each other: Margaret Tiesel as Kenya holidaymaker Teresa Ulrich Seidl’s “paradise: love.”
The Austrian cinema has to defend on the Cannes Film Festival a shout. No other film so disturbing is associated country staring at human abyss. Now, on with Michael Haneke and Ulrich Seidl, the two main directors start, and both engaged in an eternal battle zone of the human: love.
Paradise, love, Seidl’s first part of his trilogy about women stood on Friday on the program and earned applause from the press-friendly, while providing some material for the film controversies con. Close to its main character, the 50-year-old Teresa (Margaret Tiesel), the film tells of the encounter between two different worlds and economies that are described by the keyword sex tourism in general.
As a “realistic search for truth” Seidl called his work at the press conference. The main difference is he already stressed with the controlled by strict symmetries mise en scène, which influences every encounter between women and local people in a holiday club in Kenya: on the one hand, Western tourists, on the other hand, black beach boys, their goods, services and offer the body.
Seidl is known, no director of discreet reserve, but someone who is confident that his documentary-trained staging opens up an additional quality of the real, a grotesque side of life, before it closes like the eyes. In Paradise: Love this arises from the combination of naked bodies with looks and needs to miss each other. No coincidence that the women at one point complaining about the fact that they never see the young men in the eye. Also the film is above all their cruel and comic perspective.
Paradise: Love to remain static, and of theses, he would be confined only to these confrontations. With so little experience as it accumulates until Teresa’s search for togetherness – and it is also due to Margaret Tiesel that this is possible in very convincing fashion. The scene in which she granted to her bosom a mechanically rubbing Lover tutoring is a highlight of the film, because it is not clarified, but excited and curious looks. This remains ambivalent Teresa still a prisoner of her naivete, lack of reflection of this exchange transaction. Seidl traces a path that must end in disillusionment – one in her madness is difficult to beat orgy scene at the end proves to be accordingly seen as a failure.
Life as a reality show
To illusions and their power over people, it is Matteo Garrone in a most remarkable new film reality. Luciano (Aniello Arena) is a fish seller in Naples and squeak living head of a typical Italian family. He also has a penchant for drama. As will be held in a supermarket a casting for the next Big Brother season, Luciano tried his luck for the sake of his daughters – and then actually follows an invitation to Rome for an admissions test.
Instead of telling of the rise of this man in a world of fast fame, Garrone’s film turns the tables but in a subtle way and creates a kind of alternative scenario for the Truman Show. What happens when a man experiences his life as a single test run for a desired TV show? When he suddenly thought of strangers, a TV agent who evaluates his deeds? The answer, the reality is it is funny at first, but then is always scarier: In such a “container” it can no longer live voices, because every action has degenerated to pose for an invisible third party.
Only at the surface is one with reality Garrone temperament and sweeping camera movements directed satire in the style of Comedian Italian; behind it is the tragedy of a miserable mankind, the get carried into false dreams. Not least, with his eye for disparate locales – from bizarre and ugly malls and swimming pools to the picturesque Old Town – the film features a surreal image of the post-Berlusconi Italy, in the form of the old and the new unit no more. It will be difficult for the jury to pass on this film altogether.