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Young Critics

Cinea, photogénie en Film Fest Gent stellen met trots de vijfde Young Critics Workshop voor. Enkele gemotiveerde jongeren (18-26) krijgen van 10 tot 19 oktober de kans om korte recensies te schrijven over alle films van de officiele competitie en een diepgaand stuk over één andere film. Deze recensies en artikels worden op de website van Film Fest Gent en van Photogénie gepubliceerd.
Film Fest Gent -
Young Critics

Young Critic NJ Nuñez over 'The Favourite'

Slaps precede sweet talk and lovers’ tussles are primal and sexually charged in Yorgos Lanthimos’ ‘The Favourite’ (2018). Sex and power prove to be interconnected forces at play and feed off of each other, often in destructive ways. The film is an irreverent spin on a cliché-ridden genre that in Lanthimos’ capable hands transforms into a hilarious lesbian love and sex story involving a battle of wits coupled with a mud-caked, spittle-flecked take on physical comedy.

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Young Critics

Young Critic Savina Petkova over 'Wildlife'

Brisk honesty in long takes is the main character in actor Paul Dano’s debut feature Wildlife (2018). The anthropomorphised camera is the unnamed sibling in this 1960s American family portrait, based on a novel of the same name by Richard Ford, telling the coming-of-age story of Jerry (Jake Gyllenhaal), Jean (Carey Mulligan), and their son Joe (Ed Oxenbould). 

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Young Critics

Young Critics: 'A Man of Integrity' door Joseph Pomp

“Burying the lede” is an allegation usually leveled at journalists, but it could be reasonably applied to the one Iranian film that came to Cannes this year (and took home the Un Certain Regard prize). Neither the protagonist nor his situation at hand is clear for a significant portion of 'A Man of Integrity'. The opening scene relays this in a self-reflexive gesture: the characters are moving through a dimly-lit house seeking something as hidden away as this movie’s themes or even setting. Watermelons, as the stash turns out to contain, thus manage to become key players in the gray, autumnal universe within which this film drifts.

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Young Critics

Young Critics: 'La Nuit où j’ai nagé' door Susana Bessa

The way in which Kohei Igarashi and Damien Manivel’s 'La Nuit où j’ai nagé' (2017) – their first collaboration – inhabits the open spaces in Japan’s region of Aomori, resembles the act of shaking a snow globe. With a circular narrative that spans the course of a full day and a rigid symmetrical composition, snow falls and the world feels at rest, stopped in time and open to contemplation. Framed as a display of an adult’s perception of a 6 year-old boy and his interaction with his surroundings, the tenderness that envelops the motivations of the exercise nods to Yasijurô Ozu’s 'Good Morning’s treatment of childhood’s gleeful transparency even though it does so in 78 minutes and without resorting to dialogue. This is a self-contained world of wonder, still in all its movement.

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Young Critics

Young Critics: 'The Fixer' door Cláudio Alves

From a group of young boys either diving, swimming or lankily getting out of a Romanian Olympic swimming pool, our eyes are guided towards a window from where their adult guardians are watching the events. The slowly decreasing distance between the camera and its subject invites the gaze of the viewer to wander and decide whom of these observers to observe. The symmetrical composition, the architectural lines and the presence of a standing male body at the very center of it invite us to choose a specific human point of focus, but an almost imperceptible move to the right reveals the actual protagonist of the story that will unfold over the next 93 minutes. This elegant misdirection of the audience’s gaze is how The Fixer (Adrian Sitaru, 2016) starts. Unfortunately, this also represents a moment of cinematographic sensitivity that is missing elsewhere.

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