‘YOUTH’ for Palme d’Or?

By Marie-Christine Tayah


‘Because levity is also a perversion,’ director Paolo Sorrentino stops time, for 118 minutes with a maestro single movement. He moves the space too and puts a spell on his spectators carrying them on the flying carpet of life. 


Beyond the Alps scenery and panoramic images, Paolo Sorrentino’s script gives wings to imagination… and yet, it brings us back to the essence and essential matters. We are shifting between light laughter, unexpected humor, and the unexpectable reality of life that hits each and everyone. Our hidden fears, anguish, love questioning, and unjustifiable hope within one time frame are ultimately revealed to us on screen.


The fragility of human beings, no matter how important their journey role was, and behind the curtains of daily conversations, their unstoppable quest for a better tomorrow or a brighter glorification of yesterday’s memories…


The grand actors,


Michael Caine and Harvey Keitel, outstand the cameras in a transcendental way, in a 3D interaction, dragging spectators to the roots of a human being. 


Rachel Weisz brings people back to the lightness of love, the despair of a blurry tomorrow… but then again, hope. The urge to live life to its fullest, no matter what would become of one’s efforts tomorrow.


Paul Dano and Jane Fonda ally to this mosaic of different characters and ages, yet so alike in their humanity. The premises of love, the bodies communication, the unspoken words, which hold so much in their wombs…


With Luca Bigazzi’s compositions Luca Bigazzi, music, scenery, and words open another dimension of space and time, where suddenly, all lifetime efforts fall quielty into place… to overcome what they really are, in one orchestral and harmonious symphony… 


‘Emotions are all we’ve got.’


Picture courtesy: Cannes Film Festival