2022 Woody Allen reappears on the big screen. After almost 3 years of absence, despite having finished the production of his latest movie in 2020, it didn’t make it to the big screen.
I go to the cinema, the movie is in the smallest room, and when I walk in, it’s empty. I get emotional at first because I love an empty cinema, but then a certain sadness or nostalgia takes over me. I don’t know how to describe this feeling, but not only does no one want to work with Woody, but nobody wants to see.
Finally, it is distributed in France Rifkin Festival. Woody Allen’s most recent film shot years ago, but so difficult to reconcile in today’s world for reasons I won’t name, but which are world-renowned.
Rifkin’s Partyhe is a light. A light and a breath of fresh air, it’s the breeze of that Woody Allen we all love, that Woody in his golden age, where there were more movies and less conflict, where his art grew on its own instead of being buried by the actions attributed to him. administrator. Woody, Woody, how at age 84 (now 86) you rediscovered yourself and what makes you a genius.
The plot is simple, as always. Mort Rifkin (Wallace Shawn) accompanies his wife (Gina Gerson) to the San Sebastian Film Festival because he suspects she is cheating on him with a famous French director (louis garrel), while he, in turn, befriends a Spanish doctor (Elena Anaya) which removes fibers he thought were dormant.
Between the real and the dreamlike, Rifkin traverses a world of childhood trauma, nostalgic cinematography, illness and fear of death, infidelity and heartbreak. This time the New York Director he relies on his latent love for European cinema – a major influence on his works – but in this film they are the visual basis of it. Allen recreates scenes from classic European films to frame his protagonist’s terrifying dreams, passing through Truffaut in his magnificent Julius and Jim8 ½ by Fellini, just like Bergman in my favorite scene from the 1957 movie, the seventh seal: Death playing chess. It is Allen himself playing against the clock, knowing that time is running out for him and deciding, in a way, to make peace with Death in a game he will never win. Allen unfolds a festival of classics within his own film, which I think is great.
Woody returns to being pretentious in the most positive way at Rifkin’s Festival. I’m an admirer of healthy pretense and Woody left a little aside what I consider an attribute, but we see him again here, where his dialogues are loaded with a strong intellectual charge, where his scenes are brushed with cinematographic works of art, reunion with the Master and not with the common artist, and everything works: the photography, the music, the selection of actors, the dialogues and the beautiful city of San Sebastián.
With this movie, I’m happy to say we’re getting back to basics. Not completely, not in the same way, but back to basics. After all, they say, when Death approaches, that’s when the reality of who we are blossoms, and Woody… Woody is a genius.