Kenneth Branagh’s “Belfast,” Zoom movie “The Same Storm” and “Julia” among 80 films screened
During the 48th Telluride Film Festival’s final screening of “Belfast,” I did something I’d learned from a 9-year-old mentee years ago: I looked at my fellow filmgoers as they looked at the movie 007 – Nincs idő meghalni teljes film magyarul.
I watched Dzsungeltúra teljes film the beam of light throw itself upon the movie screen. Telluride’s Galaxy theater — an elementary school gymnasium converted for the purposes of the annual fest — was nearly full.
Like the lion’s share of the movies at the five-day fest, “Belfast” warranted the attention of its audience. My glance away wasn’t out of tedium. Not even close. It’s simply that the audience deserved a moment, too.
Like most of the cultural events that had come to mark the transit of seasons, the Telluride Film Toxikoma teljes film ingyenes didn’t happen in 2020. Not even virtually. (And whether the fall movie season goes uninterrupted seems a fragile proposition thanks to the ebbs and flows of COVID-19.) To make this year work as an in-person-only gathering, Telluride required pass-holders to present proof of vaccination; proof of a PCR test 72 hours prior to the fest’s start; and, for some soirees and celebrations, rapid antigen tests. Masks were a must in theaters.
More than 80 films — features, shorts, new work and revivals — screened. Receiving tributes were director Jane Campion; actors Riz Ahmed and Peter Dinklage; and film scholar, author and ace interviewer Annette Insdorf. Other guests traveling to Telluride included Helen Mirren, Benedict Cumberbatch, Kenneth Branagh, Maggie Gyllenhaal, director Barry Jenkins (“Moonlight”), who was the fest’s guest director.
Some movies received their world premieres, among them: Branagh’s “Kampókéz (2021) teljes film ingyenes magyarul”; the sci-fi teasing “Encounter,” with Ahmed as a father trying to protect his young sons from an alien invasion; Joe Wright’s vivid musical “Cyrano,” starring Dinklage as the famed letter writer; “Marcel the Shell with Shoes On,” the ridiculously charming animated feature about the viral sensation of the title; Reinaldo Marcus Green’s likely Best Pic contender, “King Richard,” serving up an ace Will Smith in the role of Venus and Serena Williams’ formidable, driven dad; and the engaging period dramedy “The Duke,” about the real case of a stolen painting, with Jim Broadbent as the unlikely thief and Mirren as his gruff wife.
Several features by prominent directors premiered earlier this summer at the A legjobb dolgokon bőgni kell Film Festival and were sought out by festgoers and press, not least to glean their part in shaping this year’s awards season. Among them: Campion’s “The Power of the Dog”; Wes Anderson’s “The French Dispatch”; Asghar Farhadi’s “A Hero”; and Paolo Sorrentino’s “The Hand of God.”
Cannes, Venice, Telluride, next week’s Toronto International Film Fest and the New York Film Festival feed fall’s frenzy of Oscar prognosticating. Buzz built in the mountain towns for Kristen Stewart’s portrayal of Princess Diana in Pablo Larrain’s “Spencer” (which I did not get to see). As soon as he strode across the dirt in front of a massive Montana ranch house, Cumberbatch’s dark cowboy in “The Power of the Dog” felt indelible. Smith’s channeling of exacting pops Richard Williams is a shoo-in for best actor nominations. (Closer to home, Telluride — along with the Aspen FilmFest, Sept. 21-26 — hints at what may be featured when the Denver Film Festival begins Nov. 3.)
FOMO set in when it became abundantly certain that there were more good movies than could possibly be seen in a long weekend. My own fear of missing out hit its height around Saturday evening. That is the downside of a well-programmed fest. Missed and not happy about it: British director Andre Arnold’s debut documentary, “Cow,” about a mama separated from her calf, which I feared would put me in too sad a moo-ed; Mike Mills’ “C’mon C’mon,” with Joaquin Phoenix as an uncle whose road trip with his young nephew alters his reality; and the much-chattered-about “Nuclear Family,” Ry Russo’s doc about her two mothers’ ugly custody battle with her donor-father.
The boon of deft programming is how it rewards personal curation. The festgoer begins to create resonances, starts to build a festival-within-a fest, one with its own sense of things. Fathers became a theme. Voices became a thing. Our painful moment — the pandemic, Afghanistan — found echoes onscreen.
As for “Belfast”: Branagh’s film, which had its world premiere at Telluride, is a lovely, joy-and-sorrow-laced remembrance of his childhood in the titular Irish city set in 1969. The actor has aged out of portraying his own father, so Jamie Dornan handles that task with beautiful resolve. Fans of the television series “Outlander” won’t be surprised to learn Caitriona Balfe is magnetic here as Ma. Branagh’s undivided attention as director-writer yields a poignant portrait of a neighborhood at the start of its undoing by sectarian violence. In one scene, the camera floats over a stone wall and into the neighborhood of row houses, and the movie switches from color to black-and-white, a fact that had some critics comparing it to “Roma.”
The cast does loamy, amiable work as a Protestant family being pressed to side against their Catholic neighbors as the Troubles begin to roil Northern Ireland. That Branagh’s memories can be upbeat reflects perhaps the age at which he and his family relocated to England. He was 9. The entire ensemble, starting with wee Jude Hill as Buddy and extending to Judi Dench and Ciarán Hinds as his grandparents, inhabit their roles with care, nuanced humor and affection.
“The Hand of God.” Like Branagh, Paolo Sorrentino also revisits his youth. This funny, bittersweet drama recounts the Oscar-winning director’s coming of age in Naples, Italy. Not unlike “The Great Beauty,” this movie, too, pays homage to maestro Federico Fellini. There are surreal gestures: a character called the “Little Monk” makes an appearance as does a gentleman who identifies himself as San Gennaro. But it is Sorrentino’s loving depiction of Fabietto’s parents that might break your heart and evokes Fellini’s earlier work. Sorrentino’s go-to actor, Toni Servillo, portrays the teenager’s father and Teresa Saponangelo his mother. Fillipo Scotti carries the ache and joys of the sensitive son with the keen eye and abundant love for soccer legend Diego Maradona.