UPDATE: The interview is up now HERE. SUCH a good read :D
You know the drill about Google translations but we DO know that Les In Rocks gave Cosmopolis 5 out of 5 stars. No translation needed for that. ;) Additionally, there is much talk about Rob's interview in the actual magazine. Marnye translated an excerpt from the interview via Smurfette:
Excerpt from the Les Inrocks intvw: He says he's going to make a movie about The Band, "a wonderful script about songwriting"; a thriller with a beautiful script but without director so far, several French directors are in line for the job. He confirms another film with Cronenberg but doesn't know when shooting will start, it will be Cronenberg's first American movie, and should be very strange.How exciting that Rob has all these projects lined up? And with Viggo shaking Rob's hand inside the On The Road premiere theater, maybe that Cronenberg film is the one we posted about HERE. Seems likely, right? We'll see what the full interview tells us.
On to the perfect Cosmopolis review. French speakers, click HERE to read the original.
Translation after the cut!
"Cosmopolis", a fable as terrible as brilliant on capitalismA terrible tale of capitalism seen through the eyes of a trader in a limousine.The limousine will she be this spring's film? Usually associated with Hollywood glamor as the glitter of Cannes, those long cars with tinted windows populate the first images of the Holy Motors available from Leos Carax and one of the fetishes of modernity is the setting (or the character) of the main new film David Cronenberg.But no crash car comes tearing Cosmopolis.Adapted (quite accurately) Don DeLillo's novel, the film tells a crossing from Manhattan to the ten hour average due to a presidential visit paralyzing traffic.Like the book, the film is constructed according to the rule of three units.Aboard the limo with Eric Packer, cynical and sexy golden boy, and we will come out almost over.Cosmopolis is a film inside, almost entirely confined in a narrow but moving. The objective of Packer: her hair done at the other end of town. Along the way he talks to his associates (logorrhea figures and theories that one might take from the brain of a mathematician on speed or a philosopher cocaïno), crosses his young wife, a mistress fucks, consult the many screens that cover the vehicle, look through the tinted windows of his car the spectacle of a society on the brink of explosion: Protesters, cops, outraged, entarteur form a flammable urban carnival that no respite.Showpiece in itself, this sectional view of New York allows all possible symbolic readings. Babylon of the West, quoted flagship of capitalist civilization for a hundred years, the NYC Cosmopolis is a concentrate of our world.The very rich and very poor people live together, and it is as old as time. The new thing is the proximity between masters and fellows induced by new technologies.Before, the poor did not see the rich. Today, the distance no longer exists, the proliferation of screens and the speed of communication reduces the world to a village where everything is close and immediate, where desires and frustrations, failures and successes, such as inclusion and exclusion in a simmering Casserole Minute.Cronenberg makes this very unhealthy cohabitation between 1% and 99%, filmed from the perspective of a new masters.It suffices to Packer back of the windows to mute the sound or image, of this society in turmoil that contributed to heat. The limousine is a bubble, a cocoon, a safe place, regressive,cut off from the real world, as the world of luxury and obscene salaries when changing the moguls of contemporary capitalism.The inhabitant of this cocoon is a being half angel, half demon, a man who has everything but seems unable to build a normal relationship with others, perpetually unsatisfied, unfinished human who lacks an emotional box. Most have is huge, more is being neurotic.To embody Eric Packer, Cronenberg has chosen Robert Pattinson, mutual stroke of genius. The actor-star line of Twilight in Cosmopolis with incredible ease, epitomizes this blend of youth and cruelty, sex appeal and failed, desire and death, this disease win bordering on the morbid pathology which irradiates the film and symbolizes our time.
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