“Pacification”: Film Review | skin 2022

the good news is PeaceThe most recent feature film by Catalan author Albert Serra, just over 40 years old, but directed by the glorious old man from the avant-garde of the 1960s, is quite visible, albeit historical – For Serra’s film.

It features a hilarious central performance by Benoît Magimel and a spectacular backdrop of Tahiti. There’s even a surf scene, as close as Serra can get to an action sequence. On the other hand, it still has 162 minutes. And this aforementioned conspiracy is a very weakened and defenseless creature that tells the story of vague, in every sense, political intrigue and municipal power struggles that refuse to settle to the end or reveal secrets. It looks like a Polynesian version. In China But made by the cast and crew with stoned rum and ketamine. Forget it, Jake, this is Papita.

Viewers who already like Serra are likely to accept this news today, as well as the stress tests established in his period, such as his end-of-life stories. the story of my death About Casanova, eyewitness death of Louis XIV And aristos-chasing-in-corsets porn Freedom. If this item is in your bag, you should properly watch it in a darkened movie theater to avoid the temptation to browse or have coffee on social media, which most people watch at home mislead.

But only the owners and revelers of the most noble and sacred theaters will take the risk of programming him into their ranks when they can. [takes out calculator] 1.8 Screen Peacefellow skin competitor tori and lokita The Darden Brothers Show At The Same Time Or Even The Much Funnier 2.4 Show will-o’-the-wisp (fires), two-week screening for directors. Do, as they say, math.

It’s a little embarrassing, because if you take away Serra’s virtually troll commitment to making his films as slow, abstract, and bourgeois as possible, they’re more interesting than they look on paper. This is especially true of this issue, which is indeed something new and compelling in its side view of the damaged remnants of French colonial rule and the growing calls for greater autonomy for the indigenous peoples of French Polynesia. A kind of part of France. (This is difficult: Citizens of a multi-ethnic group can vote in French elections, but they also have their own president and are formally appointed to the country.)

The French state is effectively represented here by the High Commissioner of Oleagine de Roller (Magimel), a European who has long lived in Tahiti. Graham Greene wears a white suit every day, seemingly with the same tropical shirt, from Roller is an arched cobbler who can tell people what they want to hear to get in the way. They also give him high-profile discussions of political science, monologues that, according to press reports, were delivered by Magimel through headphones, but which he delivered with admiration for their naturalism and ease.

Hopping from island to island, in his palatial residence, on the beach and in the local bars, De Roller connects Paris thousands of kilometers away and between the main figures of the islands, including leaders of indigenous communities such as the Matahi (Matahi Pambruni), among the Armed Forces. Officers like the Admiral (Serra-Regular Mark Susin) and local businessmen like nightclub owner Morton (Sergi López). Lately he’s wanted to know if the French navy has a secret submarine on this side that carries prostitutes on board every night, and if the rumors are true that they’re going to resume nuclear tests nearby.

This is an issue that clearly concerns Matahi residents, especially as tests done in the 1950s ruined their grandparents’ generation with children born with cancer and birth defects. At a meeting at de Roller’s house (apparently filmed in the residence of a real high commissioner of the island), Matahi makes it clear that he will not interfere with the honest condemnation of the French representative; He will protect his people. De Roller later tries to gain the support of the local mayor, but for what purpose is unknown.

Meanwhile, De Roller, who has returned to Morton’s nightclub, also helps choreographer Francesca (Monste Triola) rehearse for the club’s dancers, dressed in traditional island attire, to create a spectacle that is even more reminiscent of a cockfight with real women fighting. in the scenario. . (These photos are quite problematic for some certification bodies abroad, such as the UK, due to cruel animal laws.) When not on stage, the dancers and crew also roam the club and entertain guests in the worst places. White bikini for women and tan for men, and she’s a DJ playing the most boring and tiring EDM with amazing tits (the reason is Mark Verdaguer and Joe Robinson).

One of the most interesting supporting characters in the film is the beautiful Shana (Pahoa Mahagafanau) who dresses as a woman but was born a man, the third most accepted gender identity in Polynesia, and goes by the name RaeRae or Mahu. Initially Shana, a hostess at a local hotel, plays an increasingly important role as she grows closer to the High Commissioner and they grow closer, though it is unknown if they are lovers or what happens between Shana and other drug addicts. The foreigner is simply called Portuguese (Alexander Melo).

Either way, Shana can burn and bring fun, feline energy to the film, always responding to what is said. It almost becomes an audience tent as he shrugs, not knowing what the hell is happening to himself, an image of amused delight.

The film was shot during COVID 2021, which may partly explain the atmosphere separation, and it appears to be the first feature film shot on small Canon Black Magic Pocket cameras. There’s no doubt these digital devices have reduced production costs to some degree, but to be honest, the cinematography directed by DP Artur Tort is a little disappointing considering how incredibly photogenic the landscape is. This makes filming more difficult at night scenes that are really low-budget and look like photos.

In case this review is still unclear, the edit has a purpose, an unabashedly slow, drawn-out pig. But one has to have some sympathy for the editors of Serra, Tort and Ariadna Ribas, who had to record hundreds of hours of digital footage.