The history of Venice was not embalmed – Reuters

             

                     
                 

             

 
                     

A Pigeon Sat on a Branch Reflecting On Existence Roy Andersson is stuffed pigeon – Golden Lion at the 71st edition of the Venice Film Festival, awarded Saturday night at the Lido. Existence is the rest of history.

                 

                     Without irony: beautiful set of awards that it was designed by the jury chaired by Alexander Desplat if we consider what can happen during the allocated sum of empathy or nine people to arrive at a list – the other jurors were actors Joan Chen and Tim Roth, filmmakers Philip Groning, Jessica Hausner, Elia Suleiman, Carlo Verdone, Jhumpa Lahiri writer and costume designer Sandy Powell. If we consider that a crowned with the top prize film some hope that “means” something that is “on”, it is highlighted that an effect of authority.

The Pigeon Sat on a Branch Reflecting On Existence , closing after Songs from the Second Floor and You, the Living , a trilogy by filmmaker about what is ” be a human being “- announces the Swede Roy Andersson at the beginning – that sort of thing. It is a film that wants to “represent”: human suffering, the heritage of violence and barbarism, blame the world … Do it through fixed plans, a series of worlds that are hermetically sealed despite there in fil rouge, the odyssey of a tragic-comic duo hawkers – vampire teeth is the novelty of them

It is a frozen version of the clown, an edition of the festival which had proposed. Vibrant clowns in films less authoritarian: Michel Houellebecq cyclist Near Death Experience , and Benoit Gustave Kervern Delépine (section Horizons), Benoît Poelvoorde Chaplinesque or Le Rançom de la Gloire , Xavier Beauvois (tender). The sketches Andersson – he can not shake the ghost of Monty Python, in a meeting with Bergman – reiterate the same. It almost seems that pessimism is a means to get to a comic end. The formalist meticulous mechanical movement seems to be the moral – in “frames” like a human that bothers Holocaust. “Academic”, called the The Pigeon Sat on a Branch Reflecting On Existence some; for others it was the consecration of a director “cult”. It’s both

It’s like The Pigeon Sat on a Branch Reflecting On Existence not progressed since that initial frame in which a couple notes stuffed birds in museum:. Gets up waiting for the possibility of a counterpoint, and never happens, is a One Man Show framework.

The movement where the eyes meet, the film and the viewer , is the silence of The Look of Silence , Joshua Oppenheimer (Grand Jury Prize). It is the moment awaited by helplessness that caused The Act of Killing (2012). It is, therefore, a sequel of the previous film. That would be something that came “after …” when the crossing with the look of the victims of the death squads that murdered a million Indonesians in the 1960s, and the experience that silence, was a necessary moral gesture after hysterization of wild murderous acts that own reencenavam as action heroes The Act of Killing – a film that ran the risk of killing the victim without one again The Look of Silence

It is here that the jury’s 71st edition proved a set of types in motion:. The Postman’s White Nights , Russian Andrei Konchalovski was the Silver Lion for Best Director, Sivas, of the Turkish Kaan Mujdeci, was the Special Jury Prize. No matter the hierarchy of distinctions matter what the objects were identified and that there is a world that is revealed in them. Without wanting to know or explain which time the documentary becomes fiction or fiction that feeds the documentary, without regard to this demarcation, if interested in the deal with people who film: non-actors without know whether to interpret themselves

Kaan Mujdeci let yourself be captured by concentric circles that a kid organizes to assert and your dog-fighting in the social arena. – is that he is a ferocious animal film due to the realism of the combat sequences with animals, disturbed the haven of comfort that some seek the rooms (but it’s good when a violent movie). As fierce as it is Paul Romain Le Dernier Coup de Marteau (Marcello Mastroianni prize for a rookie): a teenager who finds himself a role in the family melodrama destroyed and the class struggle, progressing from trailer where he lives with his sick mother for a triumphant theatrical balcony with views over the city – the lineage of the young obsessive Dardenne and Jean-Pierre Léaud inaugural The 400 Blows of Truffaut

<. p> And then there was The Postman’s White Nights , the most beautiful film of all the competition, with the beauty supplement of having arrived on the last day, when I least saw and when no one would be waiting for this possibility reborn from ashes, living pantheism, after the end of the epic film, after “socialist romanticism”, with a gallery of characters – inhabitants of a lost village in Russia, again “without knowing”, interpreting themselves – Classic proudly strain

These words of Philip Gröning, one of the jurors (is director of The Great Silence ), after the announcement of history, interest:. ” The cinema is changing, and the premiums reflect this change. “

The history of Venice was not embalmed.