Oscar-Winning Movie Is More Important Than Will Smith Slap Chris Rock

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We perceive the decadence of a cultural institution when it needs elements external to art to promote itself. This is what happened to painting salons after the artists’ biography became more relevant than their works. Ditto for the literary academies, especially in their most popular versions. What I didn’t imagine is that I would live to see this irrelevance take over the cinema.

No. Future generations won’t argue if it was all a scene game. Nor will they agree with one or the other. Much less will they see improbable virtues in those who attacked or were attacked – and did not react. No one will even remember what motivated Will Smith’s pat on Chris Rock at the Oscars ceremony in that very remote, dark and ridiculous year of 960.

Because, by the floor of the carriage, the year come we will have another scandal. Maybe a black actor slaps a white actor, as a way of redressing history. Perhaps an actress slaps a trans woman, outraged at losing her Oscar to a biological man. Perhaps there is a bloody battle of android actors in front of an audience of holograms in full dress. So it will be until the Oscars become a circus event that once had something to do with what was on the big screen.

“In the Rhythm of the Heart”

If I were a conspiracy theorist, I would say that the calvophobic joke “forcibly” silenced on the stage of what should be cinema’s greatest celebration was intended to overshadow the surprising victory of a film such as it has not been for a long time. saw himself graced with the coveted statuettes: “No Rhythm of the Heart”.

)As you can see, even the title is démodé

. Not to mention the characters, setting, lines, costumes, internal dramas, climax. “Rhythm of the Heart” seems to have been made from everything that Hollywood has thrown in the trash in the last few years 30 years old. Including, I cannot fail to mention, the sweetest fussiness of the best scenes in the film. In other words, he’s so conservative he sounds reactionary. It’s such an old-fashioned movie that it seems ahead of its time.

And it’s mostly a movie with the feelings in the right places. Which, as a result, awakens in the viewer that same desire to take some feelings that life keeps putting in the wrong drawers and put them in their proper places. A teenager’s love and dedication to her family, for example. Or the option to react to an injustice with commitment, not with victimism. Or even the forgiveness given almost for nothing to the loved one.

Has people who don’t like it. Many people. Which is more than understandable. After all, we were taught to value only art that is “a punch in the pit of the stomach”. Art has become synonymous with discomfort. Anything that smacks of contemplation, therefore, is viewed with suspicion and rejection. “Get this thing out of my sight that shows that life is good!”, cinephiles today cry. The ugly became the beautiful and the beautiful became the ugly.

“No Rhythm of the Heart” does something that cinema has always done very well throughout the 20th century: it has elevated reality to the status of fantasy. Naturally. Without resentment, the film shows difficulties with which the spectator identifies. And solutions to these difficulties – with which the viewer also identifies. Because he doesn’t want to depend on the state to overcome bullying or to fulfill artistic dreams. And neither does he want to get high on drugs or go around shooting. The world of “No Rhythm of the Heart” is not a world that you want to fix through violence.

The spectator has always counted on the cinema to remember that it is possible. To remember that if he tries, he can (conquer the dream girl or solve a mystery or overcome great difficulties). To remember that he, if not intrinsically good, at least has goodness within him. To remember that there are small and very palpable dramas that go beyond the drama of social networks – and right now there are people struggling to wake up positively transformed the next day.

These are what the viewer finds in “No Rhythm of the Heart”. The film, therefore, represents the hope that one day we will look within again in order to rediscover this ability to make others happy. Just because it’s too good.