Architecton: when the world grew to become ugly due to cement | EUROtoday

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Dice Architecton proper on the finish – and it says it with an indication in order that there are not any doubts – that after water, the most typical materials on planet Earth is concrete. The phrase isn’t pronounced, to know us, by a hipster lover of giant books with extreme black and white pictures of brutalist buildings. The phrase is by Victor Kossakovsky. Which implies that in his supposed asepsis he actually desires to be manifest. It already occurred in a earlier documentary Aquarella (2018) devoted solely to, exactly, water. The hypnotic pictures of what flows ended up being revolutionary within the easiest vindication of what’s widespread, what belongs to everybody, what makes us alive. Now, since thanatos is the reverse of eros, what’s identified is the loss of life impulse into which we appear to throw ourselves headlong every now and then. But he signifies it with out stridency, all the time attentive to what issues, which is nothing greater than life. In entrance of the water, the cement.

Architecton It is a documentary that, in reality, is a cantata. Solemn, vigorous, considerably gloomy and all the time resplendent. The digicam navigates weightlessly by way of 4 eventualities. All completely different and all united in the identical destiny with the side of condemnation. The spectacular ruins of the Roman temple of Baalbek in Lebanon, the results of the earthquake in Turkey from the view of a mourning chook, an enormous stone quarry as probably the most horrible providing of progress and the development of a tiny stone circle by the architect Italian Michele de Lucchi. These are the areas of a tragic and somnambulant poem; deeply stunning and desolate.

As is already the norm in his work, the director of Gunda (the movie devoted to the lifetime of a pig) leaves the narrative within the arms of what may very well be outlined as an interior vibration. Or earlier, due to what’s ancestral and mythological. Only a number of exact indications are allowed on the finish within the type of an epilogue. And that’s the place we discover out from the Italian architect that, of all the development supplies, concrete is the one sterile because it doesn’t enable something to develop in its cracks neither is it integrated into the panorama as a destroy. It's simply destruction and rubbish. And that’s the place, to nobody's shock, we found that cement can do something. Until we get right here, the stones resound within the chest, the rain penetrates to the bones and the hassle in probably the most absolute solitude of the person who cares for Baalbek is transferring and, most significantly, offers hope.

The outcome isn’t precisely a movie – which can also be very thrilling – however quite a warning that dazzles as a lot because it hurts. We drown and it isn’t due to the water, however due to the concrete and, it have to be mentioned, the books devoted to brutalism. Who would have imagined it.

Hong Sangsoo and Isabelle Huppert, once more

For the remainder, the official part was accomplished with a brand new minimal work among the many most minimal of the minimalism of Hong Sang-soo and a brand new journey to the depths of the household and its accidents signed by Claire Burger.

Like in 'Claire's digicam' (2017), the Korean director and the French actress meet once more in A traveller’s wants(The wants of a traveler) they usually do it the way in which they like: amazed at one another. Let's say that the movie doesn’t have the sunshine and on the similar time profound gravity of the perfect of the irrepressible Sang-soo. Far from the good metanarrative video games that he likes a lot and that we like a lot, and much from that twilight languor that hurts a lot, now every thing is resolved in a recreation, in a confusion, in a translation error. Brilliant, however so tiny that it borders on non-existence.

Actress Isabelle Huppert and director Hong Sang-soo

Actress Isabelle Huppert and director Hong Sang-sooCLEMENS BILANEFE

Huppert performs a French instructor who drinks makgeolli (a white, alcoholic drink that we’ve got not tried). And he drinks loads, or loads, quite than giving his disastrous courses. From scholar to scholar, he repeats rituals, fills out the identical ineffective playing cards and drinks, drinks loads. And so the day passes between drowsiness, misunderstandings and walks. It sounds mild and, in reality, it offers a brand new which means to lightness itself. It is loved with the identical ease as one forgets a kind of goals that we don’t perceive why we’ve got forgotten. We are already wanting ahead to Sang-soo's subsequent one.

'Foreign language' (Foreign Language), by Claire Burger, is one thing else. From the outset, Everything right here, or nearly, is of a seriousness that’s horrifying. What if adolescence, what if the invention of past love, what if Europe, what if the mandatory social revolution, what if bullying, what if the household, what if mendacity, what if forgiveness. The menu is so intensive that it will probably attain the concrete above.

The director of the surprise that she was 'A Thousand Nights and a Wedding' (signed along with Marie Amachoukeli-Barsacq and Samuel Theis) tempers the gesture to compose a drama of younger folks in disaster and generations not essentially misplaced as heat and emotional as, let's admit it, routine and considerably difficult. The movie tells of a scholar alternate between a German and a French girl. What first is resentment then turns into love. But that, as they advised us in 'Fama', it prices and it’s a must to pay for it earlier than studying it. It is obscure {that a} movie that has every thing to occupy an excellent place within the Kplus part lands within the official part in such a forcedly discreet, so stiff, so strengthened concrete manner.