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Wonderstruck
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Wonderstruck

Wonderstruck

Todd Haynes deserved the Palme d’Or for the absolutely masterful ‘Carol’ (2015), and his return to the Official Section, so many years after ‘Velvet Goldmine’ (1998) -not that he is a regular at La Croisette-, it seemed designed to repair that mistake that only meant prize for a Rooney Mara that did not even come to pick it up. On this occasion, Haynes is reunited with Julianne Moore from ‘Safe’, ‘Far from Heaven’ and ‘I’m Not There’. Everything an event.

In the 70’s, a kid from the deep America (Oakes Fegley, almost a Todd Haynes in tiny), who does not know his father, loses his mother (Michelle Williams, who comes out a little), single and librarian, in an accident . The child will suffer another accident, which leaves him deaf, and will leave behind the trail of his unknown father. At the same time, the story of a deaf girl (Millicent Simmonds, who in real life expresses herself in sign language) takes place in search of her mother, a silent movie star (Julianne Moore), in New York in 1927 The connection between the two stories will be revealed in the last third of the footage.

This chronicler went to see ‘The invention of Hugo’ (Martin Scorsese, 2011), the first adaptation of a book by Selznick, reluctantly, but he found it great. The same reluctance with ‘Wonderstruck’, which has been revealed as a wonderful experience, or almost. We have seen thousands of films of orphaned children, particularly in all that cinema of the 80 not suitable for diabetics so much like the rest of the world, and when we contemplate the story set at the end of the 70s, recreated with the usual (and extraordinary) good Haynes’ liking, we can not help but remember all of them. But the American director returns to reveal himself as a master when it comes to containing and managing emotions, while putting all the formal resources in the spit to tell the two stories. The 70’s of Haynes are very alive and can not be more indies and cool, and although the New York of the 20 has been shot in black and white imitating the forms of the silent is not as mimetic as that of ‘The Artist’. It’s something else, so let’s avoid that comparison.