L'infanzia di un capo

I like Liam Cunningham and Bérénice Bejo very much, and it is also necessary to say that cinematography and art direction are quite good in The Childhood of a Leader. However, all those qualities are not enough for delivering a good movie. It is definitely not. Not only because of its sluggish boring pace, with different events of varied interest that do not compose together a deep portrait. Perhaps, the very general idea is even worse than that. The script was supposedly adapted or inspired in a story by Sartre, which I have never read, and, then, I do not know if French thinker shared the filmmaker's sins. Anyway, the very idea that a fascist leader eventually follows his authoritarian steps due a permissive education and upper-class family dysfunctional relationship during his coming-of-age years is a bizarre, stupid and childish understanding. I could not understand if fictional Prescott - who director Brady Corbet clarified that was neitler Hitler nor Mussolini - became a Füher or duce in France, Hungary, the United States or anywhere else, and I believe that confusion is intentional, but I do know that fascism does not rise because there is an individual with Prescott's traits and that has been mistaken for a girl. Addressing psychologically fascism as consequence of a troubled mind of a leader is no more intelligent and mature than portraying Nazis as zombies, vampires os extraterrestrials, as mainsteam popcorn flicks often do. We know that Pattinson's character was anti-Islamic and anti-Semitic, but even his possible harmful personal influence over the kid does not appear in the film (differently from the boy's precocious sex drive towards Stacy Martin's character, for instance). Additionally, the general and widespread (not just circumscribed in the family's personal circle) jingoist and racist prejudice feeling in society - and the hatred for the humiliation of the Versailles Treaty - would have been focused on if it were a consistent film about Fascist genesis. To resume, the choice of a horror music score (composed by Scott Walker) does not contribute for acknowledging this movie's political seriousness either.

Brady Corbet has assimilated many wonderful visual styles which he has picked up over the past several years working with master directors such as Von Trier and Haneke, but this is all Corbet has accomplished. Reappropriating stunning visual film language does not a good director make, because used haphazardly the images lose their ominous, dark tone and are instead replaced with empty somewhat pretentious images that have nothing story or acting wise holding it up. So all we are left is a misfire. While Corbet is similar to another young director, Xavier Dolan, in that they are trapped exercising their personal influences, Dolan has more innate talent. I would say that Corbet's command of the camera at times is promising. The sad part is he has a great skeleton but no meat and few functioning organs. The performances are a bit flat, though they are only working with what they are giving. Bejo is tiresome and Pattinson is...Pattinson. The best scene is in the beginning where the young boy gets in trouble with snowballs, a possible reference to Abel Gance's Napoleon. Corbet like Napoleon is undone by his ambition. But I do wish more directors were this ambitious in their debuts. If nothing else Corbet swung for the fences...and he should know better: nobody does Haneke better than Haneke.

Well, it took about 2 years but I finally got around to watching this. The trailer was hands down my favorite of 2016. The fierce Scott Walker composition cut to all the stunning shots hooked me hard, and induced goosebumps every time I watched it.

Let me say right off the bat that it is quite an odd film in the sense that it truly feels like an incredible pilot episode for a series, all building towards something that feels monstrous, but just as you reach that point, the movie is over. While this element is probably not for everyone, I was cracking up in supportive amusement during the closing sequence - I personally admired it's absence of a common folk sort of finale.

Setting that oddity aside, which could be considered a pretty major flaw in some people's eyes, everything about this film is masterfully done... the whole cast kills. This was my intro to Berenice Bejo and she made a MARK! Simultaneously beautiful and elegant, and then, at turn of a hat, heinous and witchlike. Liam Cunningham is as strong and actor as possible, shown here through stoicism with an underlying weasliness to his character. Stacy Martin is intoxicating and graceful as usual and young TOM SWEET steals the show, flawlessly delivering as a child imprisoned in the confines of his own royal sort of upbringing. Every motion, every murmur that he delivers hits right on the mark.

The film is absolutely gorgeous too. It's shot and directed beautifully in a very disciplined manner, and I'd use the same adjectives for the pacing. All the wardrobe, styling, and environments are tastefully chosen and displayed. And, of course, the frickin' legend SCOTT WALKER's score is intense and awesome - I wish there was more of his abrasive orchestral cuts but the film doesn't really call for it outside of the opening and the finale - I'll take what I can get.

All I can say is after viewing this and based off of what I can tell so far about Corbet's upcoming second film, VOX LUX, he could very well be one of the new darlings of American filmmakers! Childhood of a Leader comes off as a huge risk to make in this era but he made it happen and I see it as a very ballsy move for a debut. Can't wait to see Corbet's second film VOX LUX starring Natalie Portman and Jude Law in theaters this December - I think he has a masterful catalogue in him waiting to be unleashed!

This is a brilliantly brave attempt to make a challenging and striking piece of art.

On that level it works. The opening credits and first 10 minutes are intense. The Scott Walker soundtrack really pulls you in and immediately makes you think this is no ordinary film. And for that I loved it.

The acting is absolutely superb. Not at any stage do you think they are actors. The boy, the mum and the tutor are the stand outs.

The cinematography is superb, particularly near the end with the camera circling a dome, beautifully simple.

The overall look and feel reminded me of The Duke Of Burgundy (One of my fav films of recent)

There's not a lot of love in this family, thats for sure. The film is rather dull and slow though. I did find myself snnozebusting.

The ending made no sense either. It wasn't until I chatted to the guys in the cinema that we sort of worked it out.

I really respect the director for making a film like this. Im looking forward to his next film. Lets just hope more interesting stuff happens.

If you liked the Witch, you'll love this.

Really this is a terrible film. It is ostensibly based on Sartre's "Childhood of a leader" about a child who grows up to be a Stalin or Hitler like character. The problems with this film derive from the maker veering off of Sartre's narrative -- because they clearly did not understand what Sartre was doing.

First of all the disciplinary conditions as well as the "seen but not heard" views of children's roles were typical for that period, and in fact the great majority of the population did not turn out to be fascist or socialist/communist leaders