Eyðkenni, sum alt ov ofta síggjast í dagsins pressu, eru fyrst og fremst viljin at dyrka og skapa konflikt, sum av hestsins hæddum skuggar fyri vitan og refleksjón.
Í tveir av tveyogtretivu minuttum tosar von Trier leyst um egna familju, sum hann helt vera jødiska, men seinni kom eftir er ‘nazi’, og so nøkur orð um Hitler og Speer, sum hann roynir at skilja, annar einsamallur í bumbuskýlinum, neyðars maður, og hin fyri tað nógva arkitektoniska, hann fekk frá hondini. Speer var forrestin hin einasti, ið bað um umbering fyri mistak Hitlers.
Lars von Trier er ein av teim fáu, sum ikki hava brúk fyri spunasmiðjum. Men gloymið ikki at hetta snýr seg um film og einki annað. Og av teimum, sum gera film er Trier millum tey fremstu.
Nú eru tey øll í Cannes og í morgin fer dómsnevndin at velja besta filmin. Hvør verður tað? Bretska avísin The Guardian hevur altíð havt mín áhuga sum films- og tónleikaummælari. Heilt frá Derek Malcolm, sum vitjaði á filmstevnu í Havn í 1989, til Peter Bradshaw, sum úr Cannes peikar á tíggju møguligar vinnarar. Av hansara tíggju taki eg fýra úr rúgvuni:
Melancholia hjá Lars von Trier er eitt av tíggju uppskotum hjá Bradshaw at vinna høvuðsvirðislønina, Gyltu Pálmirnar, í Cannes. Hann skrivar soleiðis: At the end of last year's festival, we heard that Von Trier's new film was to be an old-fashioned movie about the end of the world. Would he do something sensational with the moribund "disaster" genre, as he had with horror in Antichrist? Perhaps this is what Von Trier, the master mischief-maker, intends, and perhaps not. The poster, showing a Millais-ish image of Kirsten Dunst floating in her wedding dress, is certainly captivating; it has something of the eerie quality of Antichrist. The plot centres on a family dispute between sisters (Dunst and Charlotte Gainsbourg), a dispute that gains momentum with the news another planet is on a collision course with Earth.
Umfram Trier er landsmaður hansara Refn við filminum Drive og finnlendingurin Aki Kaurismaki við filminum Le Havre í høvuðskappignini. Haldi, at hetta er eitt hitt sterkasta norðurlendska filmslið, Trier, Refn og Kaurismaki. Um fransktmælta filmin hjá finska Kaurismaki, skrivar Peter Bradshaw soleiðis úr Cannes: Cannes has a very soft spot for the deadpan comedy of Finnish director Kaurismäki; the reported casting of Jean-Pierre Léaud in the lead will perhaps have made it even more attractive to the selectors. Léaud plays a shoe-shiner who attempts to save the life of an immigrant child in the port city of Le Havre. This is only Kaurismäki's third film in the past decade, the others being The Man Without a Past (2002) and Lights in the Dusk (2006), both very big hits in Cannes.
We need to talk about Kevin (Lynne Ramsay) er ein meira sjáldsamur filmur at koma í høvuðskappingina í Cannes. Hann viðger ein skúlanæming, sum fer at skjóta floksfelagar frá hond, kanska bara fyri at fáa samband við mammuna. Peter Bradshaw skrivar soleiðis úr Cannes: Ramsay's return to the big league is the best possible news. This superbly talented film-maker slipped from the radar after her tremendous Ratcatcher and Morvern Callar; now she is directing Lionel Shriver's award-winning novel about the mother of a teenage boy who is guilty of a Columbine-style high school massacre. Tilda Swinton and John C Reilly are the parents; Ezra Miller is Kevin. The subject matter will inevitably recall Gus Van Sant's Elephant, which won the 2003 Palme d'Or, and Michael Moore's Bowling for Columbine, previously in competition. The American press habitually becomes irritated with European intelligentsia fetishising their gun tragedies: a win could trigger some peppery comment in the US.
Terence Malick er eitt av nøvnunu frá Filmsfelagstíðini í 80’unum, tá vit sýndu Badlands, sum hann gjørdi í 1973. Nú er hann aftur og filmurin nevnist The Tree of Life: Until very recently, Malick's film was bafflingly slated to premiere in the UK, before Cannes. Now this British debut has been cancelled, prompting whispers of industry brinkmanship and power-play. The Tree of Life, thought to be a radical new departure, stars Brad Pitt and Sean Penn, and is reportedly set in the 1950s. Penn plays Jack, a man who as a young boy idolised his mother and imbibed her idealism - but also hero-worshipped his tougher, more worldly-wise dad (Pitt).
Í morgin, sunnudag 22. mai, verður greitt, hvør fær Gyltu Pálmirnar og allar hinar virðislønirnar á árligu filmsstevnuni í Cannes. Seinni kunnu vit gleða okkum at síggja onkran av hesum filmum í Havnar Bio. Spyrst, so livst.