Cannes Review: ‘The Noon Stars’ by Claire Denis

Given its combustible subject matter and the director’s reputation, French writer Claire Dennis has made a surprisingly weak and unbelievable film. stars in the evening. Set circa 1984 during the Sandinista Revolution in Nicaragua, this adaptation of Dennis Johnson’s novel, published two years later, is dedicated to dubious Americans who spend time in Central America and finally decide it’s time for a divorce. may be too much. afternoon. It’s the kind of bug sometimes programmed in a Cannes competition, even if it doesn’t deserve to be there, as it comes from an entirely French author.

Confusingly, the best scenes come early when brash young American wannabe journalist Trish (Margaret Quell) solves a case with a local politician she has some sort of deal with. Trish is more than a bit of a mess and seems to have nothing to do with anything but her looks; She has neither seen a story nor written anything. At this point she uses her charms for influence and money, and it doesn’t get any meaner than that she.

The next man in her eye is an Englishman named Daniel (Joe Alvin), a rather handsome young man who immediately gets in front of the line on Trish Avenue. Also, a supposed journalist, Daniel may have other fish to burn, but he spends so much time with Trish that it’s unclear what else he will do there amid growing local uncertainty.

Joe Alvin, Claire Dennis Cannes in the movie “Afternoon Stars” and her character in “Stunned” “Conversations with Friends”

Johnson, Dennis and screenwriters Leah Misius and Andrew Litvak are kneeling in Graham Green’s domain not only because of the abundance of dark characters, but also because of the uncertainty and romantic entanglements that result from alliances of circumstances. But despite Trish’s overtly honest nature (paying $50 per take) and her candid and engaging demeanor, developing a character or getting involved in both personal and geopolitical issues isn’t enough to satisfy audiences’ genuine interest in the film. event. on. a specific time and place.

The film carefully avoids politics, and anyone who is too young to remember that era nearly 40 years ago will have little idea who the actors are, except perhaps a pretty obvious CIA agent who looks like a businessman. . Benny Sefd, the Safdie brothers’ filmmaker, plays the role with increasingly nuanced effect when the thread stops and the actor needs a much stronger performance from the men. It’s clear that Elvin needs a lot more guidance than he has, because he’s largely lost an important role and is, as a result, unexplained.

For her part, Cowell gets involved pretty early on because her spoiled character uses sexuality so crudely as the main determinant of her life. But even that will get old after a while, and the film is so devoid of political context, psychological nuances, examination of local conditions, and mere suspense that everything falls apart in the absence of solid dramatic fortifications.

This, of course, is a missed opportunity.