While this 77th edition is characterized by the discovery of many incredible new talents, it also enables us to discover the late works of some of the great masters and their highly singular strategies. On the red carpet of a gala evening, a character from the new Francis Ford Coppola film ( Megalopolis ) poses for the photographers, while a commentator explains to the audience that she’s wearing a dress made entirely of megalon, the precious material out of which the enlightened architect played by Adam Driver dreams of building an entire city. The dress is equipped with sensors that film the surrounding reality and project it onto the dress.
The dress, using digital VFX, produces a strange shimmer – reminiscent of the time-colored dress in Jacques Demy’s Donkey Skin – and a mosaic of visions behind which the person seems to fade into the background, like a chameleon in nature. In The Shrouds , David Cronenberg imagines a shroud made of a highly innovative material, also equipped with a sensor, which, once placed around a corpse, films its transformations and enables its relatives to maintain a visual link with the decaying body. The camera is not an eye, but an envelope.
A cocoon that records what it covers. The resemblance between the two visions is truly unsettling: a camera-matter, a cloth that sees. One absorbs the outside, the other reveals the inside.
Perhaps it takes decades of filming, touching the last movement of an exceptional work, to imagine cinema as a.