With “Cut! », Michael Hasanavicius refers to a sweet oto for amateurism

The concept of “the world” – why not
Official selection – out of competition

Three weeks before the start of the 75’s hostility^e Michael Hasanavicius (The OSS 117, artist) Was already talking about him, retreating to his first announced title, Z (like Z), The letter became scarce to its acquaintances with a summary of the war played by Russian tanks entering Ukraine.

And renamed diplomatically Cut !, The image was very easily identified with the model, except for a denial High feedback This is the French version in Japanese, Do not cut! (2017), by Shinichiro Ueda. This horror comedy, famous for taking advantage of the slingshot budget, became an event in the archipelago and was later subject to copyright in many countries.

A follower of Pasteich and Diversion, Michael Hasanavicius found a playground in the remake because it would put the shooting of the broken Zombies movie in jeopardy, so playing in different levels of metalanguage. In an unused building, the director of the Z series (Romain Touris) tries to get a horrible revelation from his actress (Modilda Lutz), while the real immortals appear out of nowhere on his team (including make-up artist Bernice Bezo) and Gregory Gathebois as a cameraman).

But something, in form, is wrong: actors who seem to play poorly or deliver, the camera that is not always followed and sometimes blocked on the empty field, the stumbled responses, the erratic views … Michael Hasanavicius then compiles hard. A plan – a half-hour queue, a full series of snacks on the performance deal, a ridiculous painting and a good laugh to look at.

The industry was

Following that, the story goes back three months, to the same director, who stumbled upon television work, and Japanese producers volunteered to make a horror film, but under direct conditions and some spontaneity (the characters had to have Japanese names).

“Cut! க்கும் Experiencing a heavy super ego is a way to bring down the totem of cinema

So we go back to the moment of filming, but this time it was directed back to the angle of its production, with dangerous situations and all sorts of accidents (cameraman caught by carabiner, played by a young actor with a well-inflated melon. Finnegan Oldfield), illustrating each of the previously mentioned shortcomings. This part turns out to be very sympathetic and sometimes funny, in which the poem of a kind of excitement, roughly and “badly done”, the love of amateurism in cinema, which is blessed with authenticity. .

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