The film festivals have changed.
Or begin to do so.
In July, the second gold palm was awarded to a woman, Julia Ducournau, in the 74 editions that accumulates the Cannes Film.
A couple of months later was Venice who gave his junior prize to Audrey Diwan, the sixth in obtaining such a recognition of a total of 78 calls.
Well, this Saturday San Sebastián did the same and for the second consecutive year after success last year of Beginning, Dea Kulumbegashvili, left the golden shell in the hands of the debutant Alina Grigore.
And so she became the fifth woman of 69 editions.
Hirious and even embarrassing numbers on one side, the truth is that the decision of a jury chaired precisely by Georgiana Kulummbervashvili deserves the least the privilege of both coherence and clarity.
Radicality even.
The new Blue Moon Golden Shell is a film built from discomfort, from the complaint and from the certainty that the cinema is also a tool for shock.
Cine-fist called Eisenstein.
The film tells the equinoctial adventure of a condemned woman.
The actress Ioana Chuu gives life to a student committed to fleeing the town of her heading to the capital, Bucharest.
She is opposed.
And she sentence.
On this budget, the Director makes a very cloudy recital on the degradation to which all monsters are called: from rape to the abuse going through something similar to incest.
The idea is to convert the surface of the screen as close to a nightmare.
In that or in a natural disaster in which, definitely, we all fit.
It is not so much a psychological portrait as an apocalyptic trip at the bottom of fury.
And that is there, in the rage, where the jury wanted to condense a good part of the best that has been seen at a festival that craves himself at a point of no return.
Like everyone, probably.
The rest of the palmarés follows the opinion of the up to a surprising point (that not unfair) a prize.
The jury award was without a doubt the greatest cinephil gift of this edition.
Earwig, from the French Lucile Hadzihalilovic, continues the exploration work of the previous works of it.
It is a cinema that looks for its own language through the enigma, the suggestion and doubt.
About a novel by Brian Catling A turns with an ice teeth, the director composes an abstract fairy tale, sonmbull and at the same time sensory where the geometry of eternal forms is mixed with the salty taste of blood.
A miracle.
The indicated director was the Danish Tea Lindeburg for AS in Heaven and little or nothing to reproach.
The Dreyerian aroma tape (for its negative reading of the classic Ordet) wants to be a time reconstruction (we are in the 19th century) of a matter without time: the odyssey of a woman who sees how in a single day her life fades
by the rigor of the unappealable.
The death of her mother on the birth of a new brother, stops her in front of the house and, this is what she tells her, without any of her futures of her.
The interpretation prizes, which for the first time were not for actor and actress separately but for protagonist and cast, also had, like everything, a marked accent for change or, so to speak, anti-heteropathycard.
The young protagonist of As in Heaven, Flora ofelia Hofmann Lindahla, and Jessica Chastain for her brutal and disproportionate effort in Tammy Faye’s eyes, from Michel Showalter, obtained her just reward.
For the end there were the mentions to the delivery interpreter and the script.
And in his own way, they charged the relevance that perhaps on other occasions do not have.
The complete distribution of the perfect cartography of all teens of all ages who proposes who prevents it was an enlightened prize.
And Terence Davies, for his delicate and ironic writing of Benediction, achieved the rare honor of being the only man in a palmarés who would be unfair to read it as a simple feminist activism.
It is clarity and, hopefully, promise.
Nobody ever discussed juries decisions composed of men who had just given prizes to men.
Things change.
Golden shell.Blue Moon, from Alina Grigore.
Special jury prize.
Earwig, from Lucile Hadzihalilovic.
Direction.
Tea Lindeburg by As In Heaven.
Interpretation protagonist.ex aequo for flora ofelia Hofmann Lindahla by As in Heaven, by Tea Lindeburg, and Jessica Chastain through the eyes of Tammy Faye, by Michael Showalter.
Interpretation of distribution.
Recio Candela, Pablo Hoyos, Silvio Aguilar, Pablo Gavira, Claudia Navarro, Marta Married, Rony-Michelle Pinzaru, Javier Sánchez … all the interpreters who prevents him from Jonah Trueba.
Screenplay.
Terence Davies by Benediction, by Terence Davies.
Photography.
Claire Mathon by ‘Undercover’, by Peretti Thierry.
