The Abel Ferrara sulphurous is dedicated to an uneven self-portrait of an artist tempted by inner peace, but very intense when we turn to the fantastic.
Between the magnificent Dafille Willem and the destroyed Abel Ferrara, the collaboration has been, for over twenty years (o The New Rose Hotel, t in 1998 until next, Siberia so harmonious and funny that we are not surprised to see the actor interpreting the role of the filmmaker in Wales Tommaso. Ferrara has put herself into his new film, rotated, semi-documentary, presented at a special session at Cannes.
The title Tommaso is an American director living in Rome with his family (played by Cristina Chiriac and Anna Ferrara, a companion and daughter of Abel Ferrara in real life). The film is shot in their real apartment; from there, any resemblance to reality, according to him, would be entirely fortunate. "You live in Rome, so you're brave," Dafoe brings an Italian teacher (half-length, nervous and catchy, like his model) and the film develops the path of the character cross that has been tormented in his personal relationship or his attempts to steal his captivity . Tommaso spends a lot of time with Alcoholics Anonymous, practicing meditation. In vain.
Long hair, to a large extent improvise, the film wins power when it gives the best of its documentary material to escape to a great fact with two pieces of string, when the demons of the character will incarnate to make Rome a little hell: Tommaso imagine that her daughter has been thrown by a car; Tommaso chooses his heart from a group of Africans gathered around a fire.
To socialize it or not, it always touches news about one of the last big cracks in the US cinema, excited even in its attempt for zen. We smiled (and we were amazed) when, before introducing the film, that Cristina Chiriac had warned us of evil "you do not have high hopes". Didn't know whether she was talking about it Tommaso, or life in general.
Tommaso, of Abel Ferrara (Italy, 1h54). With Willem Dafoe, Cristina Chiriac.
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