TonThe Avignon Music Festival returns from the 2021 pandemic episode, providing audiences with a not easy release, but turning to difficult issues such as ecological extinction, early fascism, and cosmic chaos.
“Cherry Orchard” by Portuguese director Thiago Rodríguez (★★★☆☆)-The opening show, and at the same time it was announced that he will be the director of the upcoming film festival in 2023-poor performance in the vast, almost geological Palais des Papes, but inspiring. The naked stage (worn in bright costumes from the 1970s) deprived the work of its comedic potential. Isabelle Huppert’s Lioubov has no charm—perhaps not intentionally—and provides a charming balance with Adama Diop’s outstanding, dynamic, and nuanced Lopakhine. Both are driven by trauma: she is the grief of filial piety, and he has recovered from generations of slavery. As Epikhodov foretold from the beginning, the injured couple promoted the destruction of the orchard, which is doomed to “not conducive to adequate” climate. The generally tight cast drove the show, and the spectacular scenes (spooky psychedelic ball; transforming magic show) provided a highlight for the unbalanced production of the outstanding director, who is a popular choice to push the festival forward.
Anne-Cécile Vandalem, the hauntingly beautiful kingdom (★★★★☆) In contrast, using a real forest and a real wooden house on the stage, a family tried to negotiate their location in the Siberian landscape after escaping from the city. The forest was also threatened, but was threatened by a group of poachers coming down from the helicopter and shooting the bear. A reality show team took us into the intimate relationship of the cabin and became the witnesses’ involvement; two dogs and five child actors completed the surrealistic scenes brilliantly. An unexpected flood on the opening night turned the audience into drenched and trembling wilderness sensitizers, experiencing a truly immersive theater.
Christian Jattahi’s “Between Dog and Wolf” (★★★★☆) Use stage movies in a completely different way to check the perversion of collective charity.Paintings by Lars von Trier Dog town, It combines live shooting and subtle transitions into a recording sequence with additional characters. Through our real-time cues, we are closer to dark, eye-catching themes than Dogville. Jatahy changed the ending of Von Trier and forced us to face the continuing hunch of this work: Fascism (in her native Brazil, directly caused) was brewed in the apparent joy of the unbridled WhatsApp group and was tainted by fake news. Nourished by dripping water. Julia Bernat’s deeply moving core performance adds counterattack and moral anger to Nicole Kidman’s original image. All actors are perfect, creating a terrible sense of collective responsibility for personal suffering. This is a work of high artistic maturity.
Brotherhood, a magical story (★★★★☆) by Caroline Guiela Nguyen also involves the autonomy of a small group-in this case, a group of different Arab French and Vietnamese and a NASA technician, played by a group of amateurs. The environment-a “care and comfort” disinfection clinic-is surreal, but this story is completely impossible. This group of people are survivors of a cosmic accident. They are trying to get in touch with their lost loved ones through a spectrally coordinated messaging pod. Their grief infected the universe, slowed down the earth and stars, and stopped time. Then they must sacrifice their most precious memories in order to restart the universe and give themselves a chance to meet again. This becomes their own sacrifice.Shaded interstellar with SolarisHowever, this drama is a social project of a group of people drifting in time. They try to keep in touch with their relatives who are not present through the joint efforts of arduous negotiation. In many ways, it’s like this multi-generational theater festival itself.