– CANNES 2021: Il cineasta francese riporre la genesi del suo primo lungometraggio, presentato alla Directors’ Fortnight
Questo articolo is available in English.
The passion of youth of two brothers united but very dissimilar at the time of the independent radios is at the heart of Vincent Maël Cardonafirst feature film by Magnetic beats [+leggi anche:
intervista: Vincent Maël Cardona
scheda film], which was discovered in the 53rd Directors’ fortnight within the 74th cannes film festival.
Cineuropa: Magnetic beats begins May 10, 1981. Why did you choose to travel in the early 1980s?
Vincent Maël Cardona: I was born around the time depicted in the first scene of the movie, so it’s a movie about the world we were born into, characterized by a clear political change that saw the left come to power. A change which was then followed by a great about-face two years later with the return of austerity. There are six writers in our group, we were all born in the early 1980s and we were interested in this particular turn. What we learned was that something quite strange was going on. Between the end of the 70s and the beginning of the 80s, on the artistic and cultural scene, there was an explosion of rock groups, projects and free radios, breaking with our big brothers of 68 and the idea that you were going to change the world, what they had tried and failed to do; instead, what mattered was the here and now. You took a guitar even though you didn’t know how to make music, you took a mic and yelled at it, and you had a party. We felt that this attitude, which some call No Future, was incredibly relevant today, that it was a kind of avant-garde archived in the sound, in the recordings of the time, and which struck a real chord. sensitive in today’s world, where we see this future No Attitude raised in the face of the ecological crisis, which is in fact a crisis of the Anthropocene, a crisis of our place in the world and of our relationship to space and time.
How did you come to this story of two brothers?
We needed to bring these big ideas to life, so we anchored them in the context of a pretty ordinary story, set in a garage, in the provinces, with two brothers who live with their dad, and watched how a story goes. individual, a rupture, a reversal of the world, a change of interior discipline, could evoke a greater history; in other words, act as a metaphor for talking about change in the wider world. It was the heart of the film. And it works thanks to the poetic power that cinema has to convey an uplifting experience, emotionally intensifying a lived experience.
The film combines a lot of different genres.
Working on contrasts interests me: finding the right balance in an imbalance, approaching serious situations with comedy, and lighter situations with a form of naturalism, mixing laughter and tears, silences and moments of fury, distinctive sounds and sounds, light and darkest part of the night in the movie. It was the same when it came to evoking the time of the film, because it is a period piece through and through; we have rebuilt it with the same concern to find the right note between the rustic anchoring of the sets, costumes and characters of the film, and its dreamlike and timeless patina.
The anarchic freedom of the radio and the military uniform, a small provincial French town and a capital like Berlin, and then two very different brothers… The film is full of polarities.
There is also, of course, the story of the Berlin Wall which features these two worlds belonging to the old world. But above all it is about our relationship with the analog world, the world of yesterday, a lost world, an era of tapes and telephone booths, when boys were doing their military service. The film reflects such a polarity because most of us come from the analog world, but it is clear that we are now in a whole other world which is digital, compressed, disconnected, and which poses a number of challenges and challenges for us. questions which we do not even have the appearance of an answer, and which have trapped us in this cloud of confusion. But it is interesting to note this change and to look at the attitude, energy and emotions of the last generations of the analog world, which I call the “magnetics”, to see what they can say about our current world and modern.