Human life has been rife with tragedies since the beginning, and speculation as to how certain events could have happened becomes, at some point, merely childish, more than delusional. We lock ourselves up in our own depths, blind to reality, which is almost always intolerable, which is exactly what drives us to taste fantasy, a magical, impenetrable place where it is certain that life’s ugliness There is not a single piece of us left. to trouble. It takes a long time to convince ourselves of the need to accept life as it is, so that we can overcome the fatigue, the frustration, the boredom of it all, and rebel, the last piece of the pot, to actually build valuable capital. May it be , Political and social events are rarely taken in the light of real mysteries: there is not the slightest meaning to anything that goes on, except for the grandiose aspect of a party, which is characterized by fanfare, bombast, inspiring speeches, honorable Sweetened by the presence of men. Uniform. But even the best parties don’t last forever.
There is at least one drop of blood in every rebellious ocean of the most diverse forms of love and politics, a common army front, the web of a single monster. Humanity remains unmoved in what appears to be our greatest project: to be its own wolf, marching without mercy in the direction that should be the culmination of the ultimate project of civilization, which must be treated as if it could ever Can’t get away from it. Ideal positivist of Auguste Comte (1798–1857). Truly popular and effectively just revolutions result from an organized and systemic movement, naturally, in which the plural strata of society, traditionally called in general – and somewhat casually – the people, claim Come together with order to and by order. The concreteness of their demands in successive stages, all in due time and with due observance of laws, in a development that is too long for some, but possible. The development achieved with this multiplicity of small social changes is, after all, what determines the progress of a nation, an incomplete civilizational model by nature and which will be able to sustain itself only if the true outcome, the citizens’ own Love for the motherland, for the institutions that represent it and create it, leave your fundamental inertia and for each other, aware that they have sprung from the same soil, which gives them bread and shelter. Is.
Born nine years before the outbreak of the first historical event that shook France after the Enlightenment of Voltaire (1694–1778) and Montesquieu (1689–1755) and Jean-Jacques Rousseau (1712–1778), the boy Auguste saw the glow of a . With the fall of the cycle of absolute monarchy that had begun three centuries earlier, a new era dawned in his country. Sofia Coppola has chosen a central character in this narrative – conforming to the criteria that make her one of the most perceptive and inventive directors of contemporary cinema. A romanticized (and even imagined) biography that became a symbol of beauty, audacity, the oxidation of customs, but also of the breakdown of power, the neglect of public opinion and, most importantly, of the people who Contempt for those who paid the bill, their pomp and their entourage of sycophants, “Marie Antoinette” moves through the image of one of the most influential women of her time, an alternative, but credible, woman and myth. Makes pictures.
Kirsten Dunst’s dynamism is perfect for creating a believable character who presents and develops the sides of her personality that Dunst would have us believe the future queen consort of France didn’t know herself to have. Coppola and her lead actress translate the essential loneliness of Marie Antoinette (1755–1793)—in 1769, at the age of fourteen, to marry Louis 16 (1754–1793), her distant cousin—by Jason Schwartzman From leaving Austria, grandson of King Saul Louis 14 (1638–1715), until his death at the age of 38 – not to try to justify the leniency of autocrats who parasitised ordinary citizens (which would be impossible), but The woman was at first sensitive enough to give one dramatic depth, but gradually the impure slowness of the excess seized her, which she helped to commit. Not without justice, her name surfaced as that frivolous and increasingly cynical woman who had resigned herself to an unhappy marriage, until she had to answer for an outbreak of rampant consumerism.
Coppola laced her film with pop references that still generate unstoppable controversy today — and at certain times, “Marie Antoinette” actually looks like a Lady Gaga clip — but she really has excellent tricks in her work. The tragic ending is, of course, limited to the beautiful image of the destruction of the rooms at Versailles when the Bastille falls on July 14, 1789, which was the starting point of the French Revolution, which brought an end to the Old Regime, and four years later the Queen. and the king. This allegory of chaos in the world, which from time to time attacks even those in power, fits like a glove in a time of barbarism and false rebellions.
film: Marie Antoinette
Direction: sofia coppola