“May December” organizes an exciting duel between Natalie Portman and Julianne Moore – rts.ch

“Le passé est un pas étranger.” On fait les chooses autrement la-bas.” The opening line of Joseph Losey’s “The Messenger” (1971) is not “May December” reminiscent of Michel Legrand’s old score and also a wonderful appliqué to Todd Haynes’ film. Ce passé, enfoui comme un palimpsesste, imprègne en effet chaque image de cette histoire située dans le intemporel et éthéré de Savannah.

That’s what Elizabeth Berry (Natalie Portman) is, a Hollywood star starring in an independent production. Their model Gracie Atherton (Julianne Moore) leads a quiet life with her son Joe Yu (Charles Melton), three children and three children.

The vernice of the family Apparemment Heureuse cracks in the fur while the actress interrogates the couple during their demise. Il faut dire qu’une vingtaine d’années auparavant, Gracie purged herself in prison to avoid a surprise on the Faire l’Amour train with her unborn son, still at the age of three.

Poisonous force

The mastermind of the scandal, provoking the teacher-trainer, who insulted the son, raised to the shower, and on the eve of the wedding with Louis, “December of May”, played in two simultaneous paintings, which were suppressed and led to the result of the entire Venetian force: d’un Côté, une case of pedophiles; de l’autre, portrait of an actress in a quête de verité. Avec, au cœur de ce recit oscillates in ironic satire, in family melodrama and in Grinsant comedy, in the idea of ​​a reality that is played out without interruption, écrasée sous le poids des multiple projections.

Natalie Portman and Julianne Moore’s scene titles are Retrouvent Côte à Côte, the premiere imitates a relationship, the phrase Seconde, Donnent Lieu à des Moments de cinéma vertigineux. For one tragicomic duel between two comedic characters who can think of one version of the comedy series “Persona” by Bergman, you are most on the map to watch the acting vamp, the son of a model who is a grotesque camera, reporter Elisabeth sur Gracie desires a superficial transgression.

>> Below: film débat de l’émission Vertigo by May December filmmaker Todd Haynes:

Allegory of the Doll

De Gracie, unaware of the portée de ses actes passés, Joe, don’t la vie est reduite à une histoire sur laquelle il n’a aucune maîtrise, en passant par Elizabeth, who pretends that vouloir atteindre une hypothetical true cache alors qu ‘elle ne Fera que juger et mimer son modele, “May December” épingle des êtres irremédiablement enfermés dans leur propre bule hermétique.

Creusant with humor Vachard, le gouffre qui separe la fiction de la Realité, l’actrice de la femme, le personanage de la personne, le Film Presente au dernier Festival de Cannes Révèle un monde où les projections plus ou moins fantasmées se fracassent contre Surface reality is not a person ne peut saisir la profondeur veritable.

There are differences between the story of Gracie and ce qu’il en adviendra dans le movie base sur sa vie qu’entre une chenille et un papillon. On the way to the right of perception in the returning doll image, Todd Haynes seemed to be promoting a long film about his son, an allegory for the character Joe, the clueless victim who came from childhood to adulthood. , and also a metaphor for what separates the reality of representation. Reste à savoir qui, du reel ou de la Fiction, s’apparente à la chenille or au papillon.

Rafael Wolf/Olkhor

“December in May” by Todd Haynes with Natalie Portman, Julianne Moore, Charles Melton. Watch in romantic rooms after January 24, 2024.