“White noise” with Adam Driver and “Tar” with Cate Blanchett

On August 31, 2022, two events took place here at the Lido: the speach – a little rich in emotions – of the godmother of the Festival, who this year is Rocio Munoz Morales, wife of Raul Bova, and the video message of Zelensky which is followed, in scrolling, a list of deaths caused by Russia, particularly of children. If Art and Culture are super partes – they should be so given that by nature they overcome limits and barriers, be they geographical, linguistic, physical, sexual, religious, sexual or otherwise, and that they speak to everyone indiscriminately, wanting to unite them rather than disunite, the choice of organization totally pro-Ukraine is out of context and, given that unfortunately everyone is carrying out unworthy actions in war, too much allied: in fact, there have been deaths at the hands of the fighters of both armies. All this must be said regardless of the understandable widespread sharing of the aforementioned deployment.

2 FILM – OFFICIAL COMPETITION

“White noise”, with Adam Driver and Greta Gerwig, directed by Noah Baumbach, officially kicked off the Venice 79 competition, ie it was the first film, among those in competition, to be screened. The message of this film, which lasts about two and a half hours, should relate to the sense of death, to the fear, indeed to the panic, that it can generate. The two protagonists, in particular the aged 38-year-old Driver with a belly for the character, react differently to catastrophes, real or feared, but to unite them, creating a deep bond between them, is the most intimate understanding of that phobia, which brings Babette (Gerwig) almost to a form of prostitution. A related theme is that of the mind seduced or deceived by another more ambiguous one: we can all understand, because at least once we have experienced, to some extent, what a strong conditioning of the mind means. in “White Noise” there are drama, irony, trashy taste, a bit of supernatural, in short, the film would like to include more genres, but does it succeed with a result that you like? To the readers the arduous sentence. Maybe not. Driver’s high artistic and technical quality remains confirmed, accompanied by an excellent cast. Rating for the film: 6.5

“Tar”, with Cate Blanchett directed by Todd Field, was one of the most anticipated films competing at Venice 79, and expectations were met, thanks to the technically perfect, artistically inspirational and humanly pregnant, by Cate, second in the world, only to Meryl Streep. Any interpretation of her is a guarantee; unforgettable is her Blanche Dubois modern version of her in Allen’s “Blue Jasmine”. Field’s film, very long (about 3 hours) and a little slow, analyzes with success and impact the protagonist, played by the actress: Lydia Tar, one of the first women to hold the position of conductor in the world, notoriously male chauvinist , of classical music. The winning key of the director, as of the muse Cate, is in depicting a tough and determined woman yet extremely fragile and insecure, despotic at times but also a skilful serious coach, capable of a family relationship (he has a wife and a daughter). weak and subjugable in front of some young girls from whom she is kidnapped, that is a woman who is not good or bad, but rather a victim of herself and society, especially that of the web, and, at the same time, an executioner towards herself and others, guilty of causing pain around him, including the suicide of one of his former students, and his inevitable loneliness. Cate is amazing, true, profound, beyond measure very good and remains ‘inside’ the viewer. All the actors are good, from the first to the last, so an applause goes to the wise direction of Todd Field. Rating for the film: 7/8, rating for Cate Blanchett: 10 praise!

1 FILM – OUT OF COMPETITION

“Living”, starring Bill Nighy directed by Kazuo Ishiguro and accompanied by an excellent cast, characterized by actors each of whom are also perfect as physique du role, was presented out of competition. This pearl of Venice 79 transports you to the England of the 50s, with that masculine elegance that included a flat cap on the head and a certain way of dressing to go to the office. The refinement of the dialogues, of the contents, of the themes as they are treated is a pleasant compensation to today’s widespread vulgarity and insolence. The film sinks, with apparent delicacy and with the formality of a certain cold English attitude, into a tragic theme that cannot fail to touch everyone: the rude and imposing Mr. Williams discovers, thanks to a series of medical analyzes, that, he only has lung cancer, but which, above all, has a few months to live, so he decides to live like never before. To do this, not knowing what it means, he gets help from a stranger, the first to whom he reveals his condition, and then from a young girl who worked for him and whom Mr. Williams meets by chance. Miss Harris ‘vitality overwhelms’ Mr. Zombie ‘, as he discovers he is called by his subordinates, and the relationship that is created between the two is exciting, it is pure, delicate, respectful. The film offers valuable insights that we should keep in mind and makes us reflect on the importance of time, especially when it is short. In a final moment of “Living”, it seems that a tragic event that recently took place could be a push to do more and better at work and in life, but, as often happens, at least in the office, nothing changes and tight promises with lots of emotions and tears in memory of an exemplary person who passed away vanish into oblivion. Another lesson comes from Mr. Williams’ advice to a young hired man and consists in deriving joy and satisfaction from one’s past success, however small it may seem, because the strength lies in concreteness, in having achieved it. Bill Nighy is very good. Film rating: 8.

“White noise” with Adam Driver and “Tar” with Cate Blanchett – the most anticipated titles on the Lido; and then a gem: “Living”