The last edition of what they call the San Sebastian Festival, if my accounts don’t fail me with number 67, it began unofficially with the screening of ‘Seberg’, a title that I can’t help it, I feel it without feeling a bit , it irretrievably reminds me of ‘Enemies: Ecks vs. Sever’ …
In reality, the clearly unsuccessful results of one and the other are not very different from each other, each in its own and God in that of all: In both appear names of importance that it is not well known that they paint out there. We can expect Jack O’Connell, okay, that his at this point in life promises to be an unfulfilled promise. But not so much about Kristen Stewart, despite productions as fragile and not as glossy as “Charlie’s Angels” where, however, it was how little he showed his face.
Add names such as Vince Vaughn, Stephen Root, Zazie Beetz, Margaret Qualley, Anthony Mackie and Colm Meaney to the equation that to a party with a certain charm they can bring as much or more charm, that although the monkey is dressed in silk .. Well, that is still cute, I understand not in a good way. Speak French more or less fluently. Or not.
‘Seberg’, renamed in our country as ‘Seberg: Beyond the cinema’, is the typical “telefilm” that is dedicated to review a series of events without scratching, not least the surface of the story that tells in a way bland and impersonal. It comes and goes, abandoned to the fate of a narrative that, in turn, abandons whatever its story may be to its fate.
His story, and ultimately no one’s. Neither necessarily that of a Jean Seberg who is only kept standing by the aforementioned Kristen Stewart, not a conventional film and a flat encephalogram that reveals the evils of a type of cinema, the one based on real events resting on the shoulders. someone, who is ugly in his banal, erratic and irrelevant simplicity.
By Juan Pairet Iglesias