Serveâtthe Oliver Laxe film that competes with the golden palm, is a tragic adventure that introduces the viewer into a brutal trance; A desert trip whose intensity – and sound – burst on the third day of the Cannes Festival with its bleak response to a derailed present. What begins with the makers of a classic adventure – the story of a father who is looking for his lost daughter in a Rave of Morocco and in that search, together with the little brother of the missing, joins a troupe of nomads of sound – it ends up becoming another type of travel, nihilist and runaway.
Laxe, who 15 years ago arrived in Cannes with his first film under his arm, All Vós Sodes Capitáns, It opens in the most coveted section of the contest, its official contest, with a Road Movie In the desert, between raveros tanned in illegal parties such as lizards, in the shadow of giant sound columns and uploads in trucks that cross mountains in search of any beat lost.
After the spiritual journey (also in Morocco) of Mimosas (2016) and Gallego’s rural drama Or what burns (2019), Laxe returns to sign its new script – more structured than the previous ones – together with Santiago Fillol. From their own place, Laxe and Fillol (and the photograph in 16mm of Mauro Herce) refer to the furious noise of Mad Max, But with echoes of the nihilism of one of the cult films of the new Hollywood, Paved road in two directions, from Monte Hellman. On your trip through the wind and the sound waves of the techno, Laxe leads the viewer to that trance/unfolding that the body feels when abandoned to the dance.
The characters of Serveât They roam in search of something – a sound, a daughter or an answer – and on their trip they live together the utopia and emotional synchrony of the Rave With a reality from which they flee, but that is pending other speakers, those of the news that speak of dead and wars that are not named because it is not necessary. Serveât It is thus divided into two parts: after the classical adventure, the nightmare arrives from an event that breaks the story. It is that shocking final traca that leads to the viewer to the shocking outcome, a sequence in which the end and the beginning of everything is.
Laxe opens Serveât To many interpretations: policies, countercultural, religious … there are a few theories about the mysterious journey within the trip that encloses this powerful film and about the destiny of their characters and those human caravans that, in the desert or in the sea, seek something that gives meaning and comfort to their lives.
It is an immersive film, whose waves of decibels permeate the images of a culture Rave which is much more than a backdrop. Under his delusional appearance, the Raves They speak of rebellion and resistance, of living in common the possibility of abandoning the body and identity through movement.
From Detroit to Manchester or Berlin, the techno and his repetitive beats were the response of an entire generation to the posindustrial collapse of the late twentieth century. Laxe starts your film with a bestial image: giant speaker towers installed on the background of western mountains. The decibels rumble against the cliffs bouncing in the bodies that dance without rest. The tempo of the Rave It is revealed as something religious, an idea in which it is affecting the totem of the speaker, a black box that, on a very enigmatic plane, refers to mecca.
The main character is the father in search of his daughter. It is interpreted by Sergi López with a different record from the rest of the cast. That registry makes all the meaning because that father, who evolves and mutates with history, is an outsider in the desert that does not understand anything. López represents the viewer, the common type that crosses the dunes or jungle in search of his blood. His little son accompanied by Bruno Núñez, who already in The Messiah He demonstrated his angel. Here he fell deep.
Two brushstrokes are enough to internalize the umbilical cord father-child. The son is also the bridge with the raverosthe unprejudiced gaze to five pirate air nomads whose camaraderie will emerge authentically and deeply. Between the family of blood and the chosen one, the troupe of rebels of techno Formed by Stefania Gadda, Jade Oukid, Richard Bellamy, Tonin Janvier and Joshua Liam Herderson spread their truth. And Lax gives them space for us to know them; In some moments of the film, also with humor, through its excrement.
Serveât It moves between mountains and deserts, but its route is circular. Hence, start with an appointment that perhaps contains the track of its entire mystery: “There is a bridge called Serveât that unites hell and paradise. The one who crosses it is warned that its passage is narrower than a strand of hair, more sharp than a sword. ”On the other side of that bridge, a lax Oliver that gives an important leap in its filmography with a film that is also the farewell in style of Domingo Corral de Movistar Plus, producer of the film in collaboration with, among others, the desire. Serveât It is, therefore, a testament of non -allergic talent to the risk of corral, incomprehensibly dismissed after a decade at the head of the company’s audiovisual fiction, whose quality has broken molds under its direction.
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