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Jornal da Mostra
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31ª Mostra > 18/05/2008
Text: Leon Cakoff, from Cannes, to ‘Jornal da Mostra’
SALLES IS REGARDED AS ‘THE KING OF WORLD CINEMA’
Honored with the best day besides the opening, the first Saturday, three styles
of cult filmmakers crossed paths in the 61st Cannes Festival. Chinese Jia Zhang
Ke (24 CITY) and Brazilian Daniela Thomas and Walter Salles (LINHA DE PASSE)
met at the nervous moment of the projection tests, without seeing what each
other filmed. On the other hand, Woody Allen (VICKY CRISTINA BARCELONA) had
one of his caprices delay the following screening, Daniela and Walter’s,
by refusing to descend the stairway of the festival palace under heavy rain
at half past ten in the evening. Who entered the projection room soaking was
the audience of LINHA DE PASSE.
Jia Zhang Ke presented his most radical and difficult film. Many fixed scenes
for a mix of real and fiction interviews about a crucial theme: a city adrift
(Chengdu, that has just been destroyed by an earthquake) and a three-generation
population discarded after serving for 50 years the caprices of the communist
regime. At the same time, the re-birth of economy with the voracity of savage
capitalism as cruel and indifferent with the lives that are involved and destroyed
as the previous system. 24 CITY is the name of modern residential buildings
that will be built in place of State factories where many Chinese gave life
for the progress and maintenance of military secrets of the regime. Chengdu
was a forbidden city for housing factories of armaments and components of heavy
war machinery. We see China in a trance again, an always inventive theme of
the brilliant Jia Zhang Ke.
LINHA DE PASSE is the new film of the Brazilian double Daniela Thomas and Walter
Salles, which is definitely settled in the international scene. A modest newspaper
distributed freely during the festival, “Technikart Super Cannes”,
gives Salles the best and most complimenting definition: “the king of
world cinema, even making a film in a super local universe”.
The referred “super local” universe is the São Paulo suburbs,
its horizontal poverty and the rare chances to escape. There are four male children
of the same mother with different adventures. The film will tell us of a social
flagellum that shames Brazil – the absence of fathers in good part of
the family relations. The ascending passes of the four brothers are soccer,
pastoring in parallel churches, unqualified jobs (now with the careers as couriers)
and crime. Who seems destined to an award, besides the film itself, is actor
and revelation Kaique de Jesus Santos, now 15 years old, found through the Casa
do Zezinho NGO. With his story of a black boy in search for his father among
hundreds of bus drivers, he enchanted the audiences in Cannes. Even more fair,
like Cannes has done before, would be to award the whole cast of LINHA DE PASSE,
besides little Kaique: Vinícius de Oliveira, João Baldasserini,
Sandra Corveloni (the mother) and José Geraldo Rodrigues.
English version: Laura
Rebessi
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