From the director of ‘White God’ comes the story of a Syrian refugee with some unique gifts.

From the director of ‘White God’ comes the story of a Syrian refugee with some unique gifts.From the director of ‘White God’ comes the story of a Syrian refugee with some unique gifts.

From the director of ‘White God’ comes the story of a Syrian refugee with some unique gifts.

White God created a few years ago in Cannes and turned out to be an acclaimed success at the party. What was most interesting is the emergence of a new talent, director Kornél Mundruczó, who spoke of the sociopolitical struggles of his native Hungary through the eyes of a mixed dog called Hagen.

The frenzied kinetics and over stylization could deactivate some timid souls but marked Mundruczó, put a stamp on the party if desired, and many looked forward to their next cinematic steps.

Two years later, he is back in Cannes, this time in official competition, with the ambitious religious epic of Jupiter’s epic. Blinking at 122 minutes, the film follows a Syrian refugee, a Syrian refugee, attempting to cross the border, who was repeatedly shot by border officer Laszlo Szabolcs Bede Fazekas responsible foudroide responsible. Aria not only survives, but begins to levitate towards the sky and discovers that it has a kind of miraculous power.

No one is going to levitate. Once Aryan finds land, the authorities finds it and places him in a refugee camp where the main protagonist of the film, Dr. Stern (Merab Ninidze) watching the levitation again in sight. Is surprised. Although his heart may be in the right place, and seem to take care of the Aryans, Stern is damaged and needs a debt to a family of suitors, which led him to flee the Aryans away from the field and explode. The fact that the Aryans perform miraculous act to consent and paying customers in return for the freedom of the refugees and a meeting with their father at home.

As for timely current issues, the refugee crisis and nonsense, it is assumed that levitation to be considered a religious miracle, Jupiter Moon looks like a superhero movie pierced by Mexican cinema new waves. The film will undoubtedly be a unique cinematic experiences of the festival, I do not think we will see another film like this or any other year, although unconscious in tone and execution.

Traffic “miracle” aria brings almost almost Biblical nature of the film, even if it feels forced and pretentious. We can also say Officer of Mundruczó. A clear influence here seems to be Sons of Men and Birdman, by Alejandro González Iñárritu and The Revenant “to this question by Alfonso Cuarron. In fact, the long ambitious decision that opens the film, one of many, has welcomed the refugees Which cross the water’s edge and run through their lives and seems to be a direct riff in the magnificent Revenant opening sequence.

The film is not lacking in ambition, it is always a good thing, but you do not actually find your own identity either. What exactly do you want to be? A superhero movie? A statement on the refugee crisis? A religious epic? Suffice it to say that it is probably all three, but it provokes a disorderly and narratively incoherent turn. A good half an hour could be cut to tighten the construction of the narrative, perhaps Jupiter’s moon would have worked better. What remains instead is a film that has a collection of incredible sequences that do not contribute much, which ultimately leads to the final and anticlimatic repetition.

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