A Cannes dispatch examines two 2026 films—Lisandro Alonso’s Double Freedom and Paweł Pawlikowski’s Fatherland—through the lens of institutional appropriation and cultural gatekeeping. The piece reflects on how nations and power structures weaponize artists and their legacies for political currency, using Thomas Mann’s contested heritage as a case study. Pawlikowski’s modestly scaled narrative about ideological competition resonates with contemporary anxieties around artistic autonomy and state-sponsored silencing. The correspondent also critiques performative festival culture: the ironic applause at corporate logos during press screenings versus the genuine enthusiasm of public premieres. The article situates cinema within broader battles over intellectual property, representation, and who claims authority over an artist’s legacy.
Article original publié sur MUBI Notebook — résumé généré par IA. Lire l’article complet sur le site source.
