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From the politically charged comedy "The Dead Do not Die" by Jim Jarmusch to the president of the jury, Alejandro González Iñárritu, who criticized US immigration policy, the anti-MAGA feeling was present on the first day of the party.
MAGA country has arrived in Cannes.
Zombie political comedy by Jim Jarmusch The dead do not die It was an unusual choice for the opening of the Tuesday night festival, as Cannes usually begins with a French fanfare evening and a forgotten European drama.
Instead, the spectators of the Grand Théâtre Lumière at the Palais des Festivals watched Jarmusch scramble in a satire the politics of Donald Trump's era, in which the inhabitants of the small town of Centerville, United States (" A real nice place ", according to its road signs) to reconcile with an environmental apocalypse caused by the" polar fracturing ".
The political message of the evening began on the red carpet, while Jarmusch and his cast, including Adam Driver and Bill Murray as center policeman, Tilda Swinton as a death practitioner with surprisingly practical skills in sword and Selena Gomez in hipster crossing the city, entered the Palace to the speakers resounding the hymn of Bruce Springsteen's heart "Born in the United States"
Like Springsteen's often misunderstood song, which deplores the treatment of Vietnamese veterans, Jarmusch's message does not always seem to have landed as expected in the multinational audience of Lumière, and the impassive performance of his actors may have suffered from translation because laughter was rare and applause muted. (The closing ovation, lasting three minutes, resembled a shrug for the Cannes regulars. The dead do not die perhaps would have been more comfortable with Toronto viewers hosting popcorn than midnight, rather than with a public dressed in black tie who had just attended a ceremony. opening in French on the power of cinema.
Before the Death does not die projected, the festivities began with a spotlight on an empty stage director's chair on the stage, in tribute to Agnes Varda, who died in March. Accompanied by an accordionist, the Cannes master of ceremonies Edouard Baer presented the jury, screened excerpts from the competition's films and mocked the American obsession with measuring the impact of cinema in the box. -office.
Baer's introduction was a prelude to Jarmusch's cinematographic imputation of American values, in an allegory in which a strange phenomenon, linked to polar fracking, disrupts the rotation of the earth and awakens the corpses of the city of Centerville. . The Centerville resident curmudgeon is a farmer played by Steve Buscemi. He has a dog named Rumsfeld, listening with an apparent agreement with news commentators who praise polar fracking for providing jobs and energy to the country and wearing a variation on the red cap "Make America Great Again" from Trump, who says "Keep America White Again".
"It's a very anti-Trump film," said Thierry Frémaux at his opening press conference. "It's about US hegemony, America is an amazing country, and with Jarmusch, we can expect that he will not be very happy with what's going on right now." "
The policy had surfaced earlier in the day when Cannes jury president Alejandro González Iñárritu referred to Trump at the jury's press conference, citing his virtual reality installation crossing the Mexican border, which had was created in Cannes in 2017, Carne y Arena.
Politicians "rule with rage and anger … and essentially write fiction and make people believe that these are facts," Iñárritu said. "The problem is ignorance People do not know [their history]so it's very easy [for politicians] to manipulate them. "
It's easy to draw a straight line from the manipulated people of Iñárritu to Jarmusch's blank-eyed, zombie-eyed zombies, who spend their life after death drawn to the insensitive favorites of their lives, like Nintendo's Coffee and Game Boys. In the afternoon of the film, French models in zombie makeup greeted the partygoers. Their bloodless, devoured faces are very similar to what many festival-goers will be like in jet lag, and the rosé in just a few days. .
Murray and Gomez, an improbable but apparently complimentary couple, huddled on a couch, chatting almost all night. On the carpet, the comedian had whispered in the singer's ear at a time that seemed to piece together Murray's much-debated final scene with Scarlett Johansson in Lost in translation.
Driver and Jarmusch discussed on another bench, while party-goers drank "Polish mules" in frosted copper cups (Gray Goose vodka, lemon, ginger beer Fever Tree). The magician Maximilian crossed the crowd, marveling and entertaining the party-goers, entertaining and entertaining them, before sending the party-goers into the night, wondering whether they were alive or undead.
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