Kelly Reichardt, the free verse of North American cinema

Kelly Reichardt has turned the life and landscape of Oregon into the laboratory of her cinema.

A microcosm that is worth it to portray like no one else the deepest and most inscrutable side of her country, the United States.

Always in the hands of the writer Jon Raymond, Reichardt is a craftswoman who swims against the current of the industry.

She writes, films and mounts her miniatures with a calm, intelligent and wise look.

She always, and does not fail, she talks about important matters without giving importance.

is her wonderful new miniature after the great

a revision of the myths of the West and the seed of American capitalism.

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Kelly Reichardt: "Everything is a western"

Showing Up

closed the Cannes competition after the minor

by Léonor Serraille,

and he did it with the force of a free verse that flies over American and world cinema with an unattainable lightness.

It would be strange if he won an award.

What difference does it make.

Reichardt makes openly small and wandering films because what underlies is the immensity of life.

His new film is not measured this time with any landscape or road, but with a community of artists in a bohemian neighborhood in Oregon where one of them is somewhat strange and lonely, played by Michelle Williams, lives alone with her cat .

It happens the week of the inauguration of his new exhibition, an appointment that forces him to summon his dysfunctional family and to measure himself against his own misanthropy and smallness.

She is an artist with a depressed air who builds sculptures of women in awkward and strange postures.

They are deformed beings, the reflection of a tortured intimacy, but without drama, like that of any lonely woman who suffers, like everyone else, from a family that hurts her.

Once again, the director of

and

finds solace in animals, this time in a dove whose broken wing will be the only work of art that this gifted filmmaker truly cares about.

With the final gift of Reichardt's faint and exquisite gaze, an irregular contest was closed that makes one fear the worst of the jury chaired by the French actor Vincent Lindon and that could include the affected and hollow

by Valeria Bruni Tedeschi, which only French critics liked it a lot.

The commitment to a radical and immersive cinema would benefit the dark beauty of the Tahitian fresco of

by Albert Serra.

Or, at least, its leading actor, Benoît Magimel: no competitive performance reaches the ambiguous nature of this actor so powerful in his maturity.

But the film with the greatest consensus and, without a doubt, the one that has caused the greatest emotional commotion is

by Lukas Dhont, a story about the duel of a broken teenage friendship that, whether it wins or not, will have the journey it deserves.

It is a very painful film made with unusual sensitivity.

It is the second film of this young Belgian after

and that can play against him.

The beautiful

by the American James Gray, was screened on the second day of the festival but its resounding response to the worst evils of American society and the culture of success have kept it alive until the last day.

Gray is one of the best filmmakers of his generation and deserves recognition once and for all.

as

the beautiful animalistic song of the veteran Polish filmmaker Jerzy Skolimowski, whose journey to the dehumanization of the world on the back of a poor donkey neither fades nor will fade.

Park Chan-Wok

's elegant

is at the top of critics' panels thanks to a

shot with a master's gun and featuring some of the brightest shots seen these days.

The funniest and most grotesque film,

by the Swedish Ruben Östlund, generates too much animosity.

by David Cronenberg, has something testamentary to it and its captivating ideas could have a place in tomorrow's list of winners and although it would be an exaggeration for the Dardenne brothers to win more prizes at this festival, the relentless harshness of their plea in defense of children without papal in

recovers all its lost energy.

And while it would be a stretch for the Dardenne brothers to win more awards at this festival, the unrelenting toughness of his defense of fatherless children in

reclaims all the lost energy from him.

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