Nan Goldin It is a very interesting figure for several reasons. First, because it is a pioneer photographer, whose vivid portraits of New York life since the late 1970s – authentic snapshots starring ‘drag queens’, heroin addicts, abuse victims and hedonistic scoundrels – transformed the role that artistic discipline plays in society. Second, because he has dedicated himself body and soul to combat the almighty pharmaceutical power and, specifically, to orchestrate sabotage actions in large museums sponsored by the Sackler family, considered largely responsible for the epidemic that oxycodone dependence has caused in the United States; Goldin herself was addicted between 2014 and 2017. And it is tempting to assume that the unexpected golden lion obtained tonight for ‘The beauty and the bloodshed’, the documentary directed by Laura Poitras that portrays both facets of the artist, is justified more by the artistic and political relevance of that object of study -who, by the way, is among the producers of the film- than by the cinematographic merits that it accredits; after all, it does not delve into either the iconographic magnitude of Goldin’s work or the crisis that opiates have caused in the country.
The Grand Special Jury Prize obtained by the debut of the French Alice Diop, on the other hand, it was foreseen by many of the pools. ‘Saint Omer’ is a devastating reflection on issues such as race and racism, immigration, motherhood, the bonds between mothers and daughters and the madness conveyed on board the meticulous staging of a judicial process that took place in 2013 against a woman who had caused the death of her 15-month-old baby; It is a work of great dramatic austerity but also full of humanity and emotional depth. In other words, she has more than enough of what she lacks Bones and allthe bland and unsuccessful mix of youth romance, portrait of teenage angst and cannibal film for which the jury headed by Julianne Moore has decided to name the Italian best director Luca Guadagnino.
interpretive awards
Related news
The distribution of awards made in the interpretive categories, on the other hand, does not admit hits. not grant to Cate Blanchett the Volpi Cup for best actress for her overwhelming work in ‘tar’ It would only have been understood if Moore and the rest of the judges -Rodrigo Sorogoyen among them- had decided to give the film as a whole a higher reward; in fact, any award that ‘Tár’ receives in the coming months should be understood as an award to Blanchett because, in the skin of a brilliant and monstrous orchestra conductor, she is the film, and without her the film would not It would be nothing, or almost nothing. The same cannot be said exactly for the magnificent work of Colin Farrell in the director’s new Martin McDonagh, ‘Banbanes in Inisherin’, because in part it is nourished by the no less magnificent performance of his co-star, Brendan Gleeson; if they had been awarded both ‘ex aequo’ instead of giving the Volpi Cup to Farrell alone, no one would have argued. Donagh, for his part, has won the award, also deservedly, for best screenplay.
Before tonight’s gala, many bet that the award-winning actor would be brendan fraser, for his work on ‘The whale’; others, for their part, hoped that the award-winning actress would be the Cuban Ana De Armas, thanks to the portrait of Marilyn Monroe in ‘Blonde’. And almost all of us who have followed the festival in the last week and a half took it for granted that ‘No bears’ he would end up occupying one of the two highest positions in the list of winners, and not receiving an award, the jury prize, which is difficult not to interpret as disrespectful; but not because its director, the Iranian jafar panahihas been unjustly sentenced to spend the next six years in prison and needs all the gestures of solidarity that can be made -that too-, but above all because it is an extraordinary film.