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Woody shlumped into his press conference, looking a bit rumpled and unhappy, to explain that Americans find it "amusing and endearing that the French discover American artists before we do." Asked about the Cannes boycott called by the conservative American Jewish Congress (publishers of Commentary, a magazine Allen once imagined merging with Dissent to become Dysentery), the director brushed off the wave of French synagogue burnings to praise the results of the recent election. Soon the reporters were asking him to "psychoanalyze" the French taste for frogs and snails. ("Whatever works," he genially allowed, adding that he himself never ate vermin.)
Cannes's 12-day combination of Oscar night and the Super Bowl, religious pilgrimage and national spectacle, is certainly unique, and Un Certain Regard, the festival's noncompetitive section for the up-and-coming, also opened with a mash note to French culture. Dai Sijie's quasi-autobiographical Balzac and the Little Chinese Seamstress applied la mode retro to the Cultural Revolution while demonstrating the positive impact of 19th-century French literature on the consciousness of the doughty rural heroine (Zhou Xun, even more cloying here than as the ingenue in Suzhou River).
The edgier Directors' Fortnight (actually a separate, simultaneous festival) also chose to open with an homage to Francealbeit in the form of a French film, Catherine Breillat's Sex Is Comedy. The protagonist of this self-referential movie is an imperious, aphoristic director infamous for her sexually graphic films. "They can't even kiss right," she complains of the actors playing teenage lovers she's directing on a freezing, supposedly summer, beach.
Sex Is Comedy is enjoyable but light, until it becomes apparent that Breillat is not simply waxing narcissistic but fashioning a simultaneous critique, explication, and demystification of the most remarkable scene in her strongest moviethe lengthy, near single-take defloration from Fat Girl. The haughty Roxane Mesquida re-creates her virginal role opposite Grégoire Colin, while glamorous Anne Parillaud plays a satiric, idealized version of Breillat. (One might argue that Breillat should have taken the part herselfbut then who would direct her?) Sex Is Comedy received a mixed response. Indeed, its burning questionhow did Breillat direct that scene?may be most interesting to Fat Girl's fans. This unusual example of auto-auteurism appends, even as it remakes, one's response to Breillat's earlier film.
Had Sex Is Comedy been chosen for the main event it might have been a contender in several categories. Cannes's first week has brought solidif somewhat familiarentries by two-time Palme d'Or winner Mike Leigh, the apparently ageless Manoel de Oliveira, and the increasingly minimalist Abbas Kiarostami. A return to the director's trademark prole miserablism, Leigh's All or Nothing oscillates between bleak human comedy and tragic troll opera before going unaccountably sentimental. De Oliveira's bracing palette cleanser, The Uncertainty Principle, has the director amusing himself with 18th-century narrative conventions, 19th-century stagecraft, and 20th-century ambiguitiessublimely confident that, at 92, he can do whatever he pleases. So, too, Kiarostami. Godard famously remarked that all you need to make a movie is "a girl and a gun." The Iranian master revises that formula to a woman (or two) and a carliterally. His digitally shot Ten is a structuralist countdown that reiterates the oppression of Iranian women, using a series of fixed-camera conversations between a car-driving divorcée and her various passengers.
Recognizable auteurist accomplishments, all three have their partisans, but midway through the festival, the most enthusiastic notices have been garnered by Michael Moore's Bowling for Columbine, the first documentary in competition since 1956 (whenperhaps an omenLouis Malle and Jacques Cousteau took the Palme d'Or for The Silent World and Henri-Georges Clouzot's Mystery of Picasso received a special jury prize).
A less grandstanding psychodrama than Moore's The Big One, Bowling for Columbine uses the 1999 high school massacre as the pretext for an essay on violence in America. The movie can be devastating and at times hilarious in bracketing Columbine with the Oklahoma City bombing and a school incident in Moore's hometown of Flint, where one six-year-old shot another. But Bowling for Columbine (which was immediately acquired for American distribution by United Artists) is poorly structured and a half-hour too longas well as increasingly self-congratulatory as Moore films himself hugging needy victims, and against all odds, succeeds in inspiring pity for doddering NRA flack Charlton Heston, whom he dupes into an at-home interview.
Bowling for Columbine makes a strong argument for enhanced gun control (or, as Chris Rock suggests, "bullet control"), but shamelessly roping in the events of September 11, Moore has his eye on the big picture and founders on the reef of American exceptionalism. The U.S. is not only held responsible for all the carnage in the world, but Americans themselves are uniquely violent humans. Canada (praised for its lack of social tensions, if not for bankrolling the movie) has nearly as many guns, Germany has a more murderous past, Britain administered a larger empire. Their murder rates are far below ours. (Third-world bloodbaths in Turkey, Rwanda, or Cambodia are discreetly omitted as reference points.) So what's America's problem, Moore wonders, fixing the blame on free-floating anxiety and the fear-mongering media that so ecstatically greeted his movie. Leaving the theater, American journalists were accosted by microphone-waving French TV crews asking, "Is is accuratethis depiction of your country?" (Lucky the Canadian who could just say no.)
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