weekend on Cannes it rolled with rain and shine. The latter are not so much in the sky as on the red carpet from the flashes of photographers who do not have time to take pictures of the stars walking there from noon. The first and best, of course, trio Martin Scorsese, Leonardo DiCaprio and Robert De Niro, who came to present to us (out of competition) the “Killers of the Flower Moon” by an American virtuoso. In the queue to enter the theater, impatience was almost palpable, and in the huge amphitheater for almost three and a half hours of the film, not a whisper was heard, as if everyone who was there felt respected and at the same time lucky. be the first to see the work of a living legend.

And they weren’t disappointed. With a wealth of Apple TV products at his disposal, Scorsese takes us back to the early 20th century, to the lands of the Osage Aboriginals, who are prospering thanks to the recent discovery of large oil fields on their land. Ernest (DiCaprio), a 40-year-old adventurer, arrives and immediately falls under the protection of his uncle, William Hale (De Niro), the most powerful white man in the area. Soon he meets and marries his own Molly, which automatically makes him and their children shareholders in the oil business. Shortly thereafter, Molly’s relatives and several other locals begin to be found dead.

DiCaprio plays the complex, flexible role of a forefather with… feeling, surrounded by an unwavering De Niro, while Scorsese speaks boldly and directly about the crime of extermination of Native Americans by whites. While admittedly it could have been smaller, his film is artistically flawless while also serving as a reminder that large-scale cinema can be (very) high-quality at the same time.

The film that, perhaps more than any other, has made a comeback in recent days in the awards talk has been Jonathan Glaser’s Zone of Interest.

However, in terms of quality, we have seen enough at Cannes this year. The film that, perhaps more than any other, has been mentioned in the awards talk in recent days has been Jonathan Glaser’s Zone of Interest. The restless British creator of “Erotic Beast” and “Under the Skin” is building a chilling surreal fairy tale: right next to the Auschwitz camp, an SS officer, his wife and extended family built the perfect home, a little heaven on earth with gardens, a swimming pool and a vegetable garden, literally partitions with the greatest hell in the history of mankind.

Glazer directs minimally, with no trace of commentary or sophistication—we never see Auschwitz from the inside—yet with poignant observation that ultimately brings out the nightmare of the Holocaust, as well as its psychological underpinnings, more effectively than in most films. , type.

Todd Haynes also took us on a journey through the labyrinth of the human soul in May December starring Julianne Moore and Natalie Portman. The former plays Gracie (Moore), a middle-aged woman who monopolized the tabloids two decades earlier when she had an affair with a 13-year-old and had a child. Now that she is happily married to him, Grace will visit Elizabeth (Portman), a famous actress who will play her in the film adaptation of her story.

Haynes uses a strange fable to talk about the complex, elusive nature of both love desire and charm that some individuals are capable of. One of these is the character Moore, who controls (seemingly) everything but himself. She will eventually draw Elizabeth to her like an insect in a lamp, but the latter will be driven by her professional curiosity to dig deeper, to find common ground with the character she is to play. This “interpretation within interpretation” is certainly a brilliant find, if not for the melodramatic music, reminiscent of … “The Shining” – not Kubrick – everything would be even better.