Old a film that focuses on the bond between mother and daughter

The Japanese director Hirokazu Koreeda decided for the first time in his long career to film outside his country, a decision that challenged him to maintain his mark immersed in another culture, in a challenge from which he emerged victorious and in which he delicately reflects the conflictive relationship mother-daughter on French soil in “Old”, a film that premieres today in Rosario only in Cines del Centro (see separate), and whose tickets are not sold online.

If with “Of such father, such son” Koreeda stomped on festivals and Old movie with “We are a family” (which on Netflix is ​​”A family affair”) he established himself worldwide, in this film the Japanese showed that his own Cinematographic language knows how to transcend borders and that it can be perfectly understood with actresses as alien to its culture as Catherine Deneuve and Juliette Binoche.

It is another film in which he delves into the secrets and family woes, Fabianne (Deneuve) is a consecrated actress, one of the greatest in France, and is about to present her autobiography while playing a minor role in a science fiction film.

At the moment, her daughter Lumir (Binoche) is going to keep him company with her husband (Ethan Hawke) and her daughter. From the beginning, you can see the tension that this family is experiencing. Instead of going out to greet her daughter who has just landed from New York, Fabianne prefers to have a boring interview for the presentation of her book. Egolatric and arrogant, she is only interested in her performance and her role in it.

With the first act raised in the first moments of the film, Koreeda slides the second to start the whirlwind of reproaches between the two protagonists of the film. As expected of this “heir” of Yasujiro Ozu’s cinema, love and tenderness are never lacking in the shots.

However, this fall to France of the director of “Nobody knows” occurred between chance and tenacity to carry out a project that had been born in 2003 to be taken to the theater in Japan, to, after languishing in a drawer, be resurrected in 2005 after a talk between the director and Binoche.

“The basis of the script is a play that I started writing in 2003. It all happened one night in the dressing room of a theater actress at the end of her career. I ended up transforming the play into a script and telling the story of a film actress and her daughter, who abandoned her dream of following in her mother’s footsteps, “Koreeda said in a promotional interview to a European media. . It was 14 years that passed between that talk with the Oscar-winning actress until the project was able to see the light of the cinemas at its premiere at the opening of the 2019 Venice Film Festival.
Juliette Binoche, director Hirokazu Koreeda and Catherine Deneuve at the premiere of the film at the Venice Film Festival.

Juliette Binoche, director Hirokazu Koreeda and Catherine Deneuve at the premiere of the film at the Venice Film Festival.

Deneuve shines in her role and Binoche is not far from the applause. Her characters are measured, they are surprised; they hug and fight; but never without losing the temper that a family must sustain. Little Clementine Grenier also stands out, who with her grace and indolence is the only one who treats Fabianne like a grandmother and not like a movie star. Subtle and effective counterbalance to the tensions and lies that adults tell throughout the film.

“The film mostly talks about the lie itself and about Old. The act of interpreting the cinema is a truth, we do not interpret the same in life. Human beings depend on lies to support our day to day. Above all, I wanted to talk about whether the act of interpreting is a lie or a truth, “said the director, who also took charge of the script and editing of the film.

Thus, after a first act that works as a straight to the chin and a second act no less effective, it is true that at the end the relationship between the characters is half stretched. However, this slip does not detract from the effectiveness of a film that knew how to bring together the top of French cinema with one of the best oriental directors of today, as if all barriers had been overcome once “action” was shouted. ” on the plate. Or as the director also said: “It was not too complicated, although the language is different, the language of cinema is common throughout the world.”
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