Later that day, I attended La Semaine's Opening Night ceremony, a screening of Rufus Norris' "Broken." (I agree with Kevin Jagernauth's review.) I may or may not have nodded off during one of the films so far, and this may or may not be the one.
Today, after a wholesome breakfast of three chocolate croissants (which I will never eat again as long as I live) and four shots of Nespresso (c'est complimentaire! pour-quoi pas?) on the beach, I vibrated over to the Miramar for two more Semaine screenings. First-time director Alejandro Fadel's confidently rendered, mystical "Los Salvajes" is a film about five wayward youths who flee society and take to the wilderness — it's "Moonrise Kingdom"'s dark doppelganger — in Argentina, "Los Salvajes" demonstrates Fadel's preternatural command for mise-en-scene.
He captures nature in such strange and defamiliarizing ways that I can only compare him to Apichatpong Weerasethakul (I'm still amazed I can write that without name-checking) or perhaps a younger Terrence Malick. Moments of sublime beauty are perforated by intense violence, animal killings and the bleat of wild boars. This is the most promising debut in La Semaine so far.
Following Los Salvajes was "Au Galop" by Louis-Do de Lencquesaing (had to name-check that one). He starred in 2009's "Father of My Children," as he does in this film. A French comedy about grief and infidelity, "Au Galop" plays like a modern-day Anton Chekhov, with sharp dialogue and astute observations about the life of a writer.
That's all for now. Another night of back-to-back screenings and jerry-rigging wi-fi connections in public places awaits me.