O novo filme de Fernando Meirelles, baseado no livro “Ensaio Sobre a Cegueira”, de José Saramago, abriu hoje o Festival de Cannes. O jornal inglês Guardian publicou esta resenha sobre o filme:
It’s the opening morning of the 61st Cannes film festival and the international press are cordoned in their metal pens outside the Palais. The sun is blazing, the traffic thrumming at our backs, and up on the steps the be-suited security guards are eyeing us with a studied indifference. We have become so institutionalised that it almost feels like home.
This year’s opening gala is not about to make us feel any better about our place in the world. Blindness may well be the bleakest curtain raiser in the history of the festival, a nightmarish parable of the apocalypse, directed by the Brazilian film-maker Fernando Meirelles and just as impressive in its way as his career-making City of God. In the wake of an unexplained epidemic, the blind inhabitants of an unnamed city find themselves herded out to a derelict hospital by the railroad. Julianne Moore plays the one sighted person in the compound, with Mark Ruffalo as her stumbling, vulnerable husband. For good measure, the film also finds room for a puckish supporting role for Gael García Bernal as the gun-toting, food-hoarding demagogue of ward three.
Away from the Palais, the throngs are still arriving; the Croisette is a cannonball run of delegates brandishing accreditation slips. We are back in our regular apartment on the Rue Buttura after an untoward diversion to the waterfront for last year’s festival. The previous flat commanded a view of the Mediterranean whereas this one looks out on Le Jardin Enchanté, a children’s playground bordered by a scrubby patch of lawn.
Gaze the other way, however, and you can see a sliver of the red carpet where the guests parade each evening. They will be here for Blindness tonight and they will be here for the others – the competition films that are yet to come. Some of them will be great, some of them will be awful, but right now they are unknown quantities. No one knows which will take the prize; no one knows where the big stories lie. Like the characters in Blindness, we are all just “swimming in milk”.
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