Each day, the Figaro cinema critic shares his impressions live from the Croisette. Today, he notices that ordinary professions have disappeared from the big screen.
Certainly, there is frenzy. Of course, there is indignation. The controversy rages on a tiny portion of the coast. There really isn’t much to it. The anti-Bolloré petitioners only need to observe the selected films. According to the projected images, unemployment is not imminent in their world. Apparently, the absurd professions – as defined by Paul Valéry – are thriving.
In “Parallel Stories,” Isabelle Huppert is a novelist. She does not leave her house. The hero of “Fatherland” has the same profession, but he has excuses: he is Thomas Mann himself. Léa Seydoux in “Gentle Monster” has no choice but to be a pianist. Pointing at the factory, don’t even think about it. A sculptor is at the center of “A Few Days in Nagi.” Directors are scrutinized closely by Rodrigo Sorogoyen and Pedro Almodovar, as if Spain is ashamed of its bullfighters and real estate developers.
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[Context: The critic is reporting live from the Cannes Film Festival, observing a trend in films showcasing unusual or unconventional professions.]
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