Klara's cinema

Two slightly weaker days at the Mostra with movies that only deserve a couple of paragraphs. I have good hopes that today will change that unsatisfying trend but first, let me tell you about our rather mediocre Friday and Saturday.

There is at least always a funny story to tell about your festival life and, in this case, movie 1 almost triggered quite a misunderstanding. It is linked to the fact that my approach to the Mostra is the following: I do not like to know much about the movie I am going to see. I limit the information that reaches me (as much as possible) to the title of the film and its director. Indeed, I believe that part of the festival charm is its element of surprise. Of course, when the movie is a massive production, it is hard to avoid hearing about its basic plot and the actors that play in it. But in this case, the movie had a Japanese title and director so I stuck to the basics.

The funny part is that we have a good friend in Venice, a very talented artist named Nelson Kichi (should you come to town, google him and go see his wonderful drawings of the city). Nelson is Brazilian of Japanese origin and is currently planning his first ever trip to Japan early next year. To that purpose he is actively learning Japanese.

Now look at the title of Movie 1. In Japanese it reads “Nelson san, anata wa hito wo koroshimashitaka?”. I guess you see me coming. There I go telling Nelson that this Nelson movie is a real sign of destiny. We have a good laugh about it and agree that he should join us to the screening to practice his nascent Japanese.

I have to thank all Nelson’s clients that passed through Nelson’s boutique on Friday and prevented him from making it on time. Had I read the name of the actors, I would have probably found out that not much Japanese would be spoken during the screening. Indeed, the movie ended up being a (pretty violent one) about the Vietnam war, PTSD and recovery from the Afro-American soldier perspective.

Not everything is bad in it but not much of it is very good either. A lot has already been said about Vietnam and this one does definitely not add anything to the debate. Its first part is utterly violent (meaning Klara’s eyes shut for a good share of it) with shooting, heads exploding, blood flowing. And its second part quite often tends towards cheesiness. The not so subtle acting is mostly responsible for it.

As for Nanni Moretti’s “Succedera questa notte”, it only confirms what I already thought. Nanni is not ageing so well (in cinema terms of course, physically he looks like his good old self). He came to Venice with a humourless love story. The important word in the previous sentence is “humourless”. Because what I have always loved Nanni for was his quite offbeat and peculiar humour. I sincerely hope that it is not gone forever but is is for sure painfully absent currently. As it pains me to say it, I shall not write more about it but his latest movie is definitely not a must see.

We therefore went to heal our disappointed souls in the beautifully medidative Egyptian pavilion at the Biennale’s Giardini. Whilst the Giardini were in general disappointing as well, that one pavilion is worth by itself the long walk through the site. A few moments of your time in it will put your mind at peace and get you ready for your next Mostra day!