Voci di potere

I for one quite enjoyed it. Did not understand it completely, honestly could not pick out all of the symbolism, allegory etc, but it was interesting and fun to try. There are no laugh out loud moments, but smirks aplenty as connections and parallels are suggested and at times blatantly stated.

The cast, the script, the dialogue were convincing and never overplayed, these were serious politicians acting like real people in a surreal situation. The choice of subdued lighting in red tones, and a off kilter soundtrack kept everything suitably unreal. Direction and editing could not be faulted.

Would/could a film like this be made in an authoritarian country? Undoubtedly not.

Its a fun film that can be taken seriously.

Buñuel's movies might be lacking some zombies (at least I don't recall their presence). But IMHO they're much more to the point when it comes to avant-garde surrealism infused with political commentary. For artful, unconventional, surrealist and political satirical films, Buñuel is probably still the bench mark.

I'd strongly suggest that rather spending your time and money on the quite boring 'Rumours', you try to get your hands on VHS or Disc copy of Buñuel's first movie 'Un Chien Andalou' (The Andalusian Dog) from 1929, an unprecedented collaboration with Salvador Dalí. Or enjoy some of his classics such as 'The Discreet Charm of the Bourgeoisie' (1972) or 'That Obscure Object of Desire' (1977).

Rumour has it there's a new movie out written and directed by 3 different people: Galen Johnson, Evan Johnson, and Guy Madden. A Canadian/German production, RUMOURS is a satirical look at the annual G7 summit, gathering together 7 of the world leaders who try to prepare a joint statement to address an unspecified world crisis. I really enjoy weird movies, but this one almost pushed my tolerance to the limit. It took a bit to understand the kind of humour this movie is going for. I appreciate it a tiny bit more now that I've had time to contemplate. Basically, it's a movie that says politicians and world leaders are more focused on drawing up a statement than actually taking any action. There is still one aspect of the movie I still don't understand, which I can't tell you about, just know it's very weird. According to this movie, politics is just one big circle-jerk. A few standout performances from Cate Blanchett, Roy Dupius, and Denis Ménochet carry the film. So much of RUMOURS is strange and surreal, but I feel like it's full of symbolism and metaphors. I understood some of them. By the end, I think I had a fun time?

Truly good satire needs a razor-sharp edge to succeed, but this latest effort from director Guy Maddin (in collaboration with filmmaking partners Evan and Galen Johnson) falls stunningly flat, resulting in a rambling, unfocused slog that somehow manages to mix messages and symbology that are simultaneously both cryptically understated and patently obvious. Set at a G7 summit in Germany, world leaders from the host country and their American, Canadian, British, French, Italian and Japanese counterparts (along with delegates from the European Union) hold their annual gathering to discuss the state of the world and pat themselves on the back for a self-congratulatory job well done (despite not possessing the requisite skills to accomplish anything meaningful or of substantive consequence other than keeping their nations' respective seats warm). They smile their hollow smiles and make empty though allegedly profound observations about a variety of subjects, all while attempting to craft one of their famous joint statements (position papers that the American president openly admits no one ever reads). In this case, the communique is meant to address some kind of undefined global crisis, but it appears to be one with apocalyptic overtones. But, in the course of their "work" - an undertaking for which they're far from qualified - they quickly find themselves in over their heads when the infrastructure around them begins to crumble, a circumstance made more ominous by the appearance of inexplicable apparitions and zombie-like bog creatures straight out of classic folklore and middle European fairy tales. One might think that this would make for an interesting premise in telling a surrealistically satirical fable about the state of contemporary world politics, but the execution here is so poorly carried off that it ends up amounting to little more than oh so much intellectual and symbolic masturbation (depicted here a little too literally and repetitive at that). To complicate matters, the narrative incorporates countless developments that go wholly unexplained, some of which presumably have to do with the symbolic emasculation of a prevailing patriarchal world in favor of an emerging female-directed paradigm, but others of which are just so enigmatically absurd that they defy description, explanation or purpose (there's more of that masturbation again, only this time reflected in the nature of the picture's screenplay elements). The overall result is a mess of a movie that, despite its gifted ensemble cast and atmospheric cinematography and production design, just doesn't work, especially since the insights it's trying to impart aren't particularly new, revelatory or funny. We're well aware of how inept many of the world's supposedly astute leaders are these days, including the fact that they're cluelessly engaged in little more than what amounts to unconscious acts of that aforementioned "self-love" (and self-aggrandizing ones at that), but do we really need a movie to remind us of that (especially one as shabbily made as this)? No thanks. If I were you, I'd duck out of this one and see what else is playing at the multiplex (or, better yet, skip it altogether).

"Rumours" is a Guy Maddin film. So you need to know going in that it will be an absurd, surrealistic, over-the-top festival of craziness.

Maddin's first film came out in 1985. Since then, he has completed twelve feature films and dozens of shorts that are iconic among cinephiles. His work includes a short film starring Isabella Rossellini as a legless matriarch who sponsors a competition to discover which country produces the saddest music in the world. For another film, Maddin stipulated that during its theatrical release an eleven-piece orchestra, a Canadian castrato vocalist and a narrator doing voiceovers must all participate live at each screening. In a related development, the film was never offered in wide release.

In "Rumours," Maddin co-directs with long-time colleagues Evan and Galen Johnson. Evan Johnson wrote the script. The story centers on a meeting of the G7 countries (Canada, France, Germany, Italy, Japan UK, US) to address an unspecified international emergency. The group soon begins to draft a position statement, in lieu of taking actual action. Even this tepid response is sabotaged by the personal agendas of the participants. The Canadian Prime Minister sleeps with the Chancellor of Germany, in part to compensate for the emotional indifference of the UK Prime Minister, a previous paramour. The French President feels the need to emote at every opportunity. The Italian President unctuously offers other G7 members a variety of sausages from the inner pockets of his coat. Eventually, these "leaders" find themselves mysteriously abandoned by the support staff. They stumble around on fog-shrouded terrain, encounter an all-seeing AI tasked with rooting out pedophiles and discover an unbodied brain the size of an SUV.

Several major actors have lent their star power to this endeavor. Of course Australian Cate Blanchett is the Chancellor of Germany. Charles Dance, a quintessential Brit (Tywin Lannister in "Game of Thrones," Lord Mountbatten in "The Crown"), portrays the US President without the inconvenience of eliminating his upper-class British accent. In a refreshing change of pace, the other G7 representatives are all veteran actors native to the countries they represent. Alicia Vikander has an incendiary cameo as an EU functionary/apocalyptic prophet whose predictions of doom are somewhat less effective because they are uttered in Swedish.

Professional critics apparently are contractually obligated to swoon because this is (kneel and genuflect here) Guy Maddin. Regular moviegoers are more likely to just pass out from boredom. While this film makes a fair point about the fecklessness of many of the leaders on the world stage, it's ultimately a one-note tune that becomes tiresome. "Rumours" elongates material would make an inspired, captivating short film. But here, it stretches its content and the moviegoers' patience past the breaking point.