Spenningen rundt mottagelsen av Louder Than Bombs er til å ta og føle på, dagen før filmen får sin offisielle premiere i festivalpalasset Grand Théâtre Lumière. Filmen ble ferdigstilt så sent som onsdag 13. mai, og ble flydd ned til Croisetten i en hast. En hemmelig visning i filmmarkedet for internasjonale distributører ble gjennomført lørdag 16. mai, og de presseakkrediterte fikk altså i kveld en tidlig forsmak på filmen.
Dermed kommer nå de første reaksjonene på Triers film, og nedenfor har vi limt inn et utvalg umiddelbare tweets fra internasjonal presse. Vi oppdaterer denne artikkelen også med linker til de viktigste internasjonale anmeldelsene, etter hvert som de skrives og publiseres hos de respektive publikasjonene som dekker Cannes. Se også nederst i denne saken de tre første klippene fra Louder Than Bombs – sluppet på nett i forbindelse med Cannes-premieren.
LOUDER THAN BOMBS: The lies we tell each other and ourselves, and the lingering impact of the gone. Dense, big, very good indeed. #Cannes
— olilyttelton (@olilyttelton) May 17, 2015
Louder Than Bombs: well-intentioned but tedious tale about a family dealing with the death of their war photographer matriarch. #Cannes2015
— Total Film (@totalfilm) May 17, 2015
LOUDER THAN BOMBS: Best Desplechin movie of the year, with Eisenberg as Amalric.
— Ignatiy Vishnevetsky (@vishnevetsky) May 17, 2015
Joachim Triers Louder than Bombs er en god film. Fortæller originalt om familie med hemmeligheder og stor sorg. Vildt flot. #cannesdk
— Christian Monggaard (@monggaard) May 17, 2015
joachim triers ‘louder than bombs’ er et drama i en meget personlig stil. avanceret, anelsesfuld og en af de bedste film i cannes #cannesdk
— Per Juul Carlsen (@pjcarlsen) May 17, 2015
LOUDER THAN BOMBS: Well, it wouldn’t be a Joachim Trier film if it didn’t completely destroy me emotionally. Still processing. #Cannes2015
— Alex H. (@bwestcineaste) May 17, 2015
LOUDER THAN BOMBS: Not as taut as Oslo, but still impressively detailed/layered. Like a fictional STORIES WE TELL: perspective is everything
— Alex H. (@bwestcineaste) May 17, 2015
Louder than Bombs: emotional portrait of a family, study of relationships and grief. Many powerful moments. But still thinking. #Cannes2015
— Gabriele Capolino (@gabrielecapo) May 17, 2015
Sasha Stone skriver i sin anmeldelse hos The Wrap:
You expect big and great things from the films that screen here [in Cannes], whereas “Louder Than Bombs” is more a poetic rendering of growing up than it is anything else. The deeper meaning of the film comes in the examination of what we talk about when we talk about the truth. One kind of hard truth is truth in journalism. The mother (Isabelle Hupert) was a war photographer who used her camera to reflect the truth, no matter whom it might hurt, no matter how badly her subjects might feel about being caught on camera. Journalism, after all, has an obligation to the truth.
But beyond that, what are we obligated to tell our loved ones? What are we obligated to tell our wives to prevent their getting hurt by the things we do? What are the benefits of deception? What is the eventual harm? These are the questions the film ponders, eventually settling on truth being the better option, even if it is colored by one’s own personal feelings, because lies have a way of growing to bigger proportions.
Hos IndieWire skriver Eric Kohn:
In different hands, “Louder Than Bombs” might quickly devolve into a terribly maudlin and didactic story of overcoming grief, parenting, coming of age, and other troubling clichés. (Last year’s “Men, Women and Children” was exactly that.) Instead, Trier and co-writer Eskil Vogt deliver a smart, measured tale steeped in understatement and complimented by first-rate performances all around.
[…] Despite its low key feel, “Louder Than Bombs” is an overly busy project, but its held together by Trier’s ability to maintain a cool, pensive atmosphere as well as the uniformly great cast. Eisenberg, buried under an unseemly combover, pushes himself to renewed depths, and newcomer Druid manages to convey his frustrations with more scowls and indifference than words. Byrne’s also strong in the role of a failed parent and husband at odds with the world around him.
Slik åpner Peter Debruge sin anmeldelse i Variety:
In the 35 years since “Ordinary People,” American cinema has told and retold stories of how a death in the family can reveal the dysfunction no one wanted to admit was there. “Louder Than Bombs” is just such a picture, studying how a widower and his two sons cope with learning the “circumstances” of the accident that killed his war-photographer wife, but it also manages to be the opposite of nearly every other film in the genre.
Directed by Joachim Trier, who’s certainly gifted enough to have turned in a passive-viewing tearjerker, “Bombs” asks audiences to bring their brains, eschewing grand catharsis in favor of subtle psychological nuance, resulting in a film that runs both slender and cold on the surface, but rewards the arthouse audiences willing to give it a deeper reading.
I The Hollywood Reporter skriver David Rooney blant annet:
The clear-eyed, empathetic gaze and supple craftsmanship that made Norwegian director Joachim Trier‘s first two features, Reprise and Oslo, August 31st, so compelling are again on display in his English-language debut, Louder Than Bombs, which also marks his upgrade to the main Cannes competition. But the sensibility is a less satisfying match with this drama about the lingering fallout of sudden, devastating loss on an American family. While it’s well acted and has strong moments on a scene-by-scene basis, the film lacks an emotional center, keeping the impact cool and diffuse where it should be affecting.
The themes of grief, regret and damaged lives are territory into which Trier and his regular co-writer Eskil Vogt enter with their customary intelligence. But the character observation is both less original and less consistent than usual, and though this is a contemporary drama, it often feels awkwardly like a period piece, at times recalling Ang Lee‘s superior The Ice Storm in tone.
Hos britiske Screen Daily åpner Dan Fainaru sin anmeldelse slik:
In what can only be described as the smoothest of transitions, Norwegian director Joachim Trier’s English-language debut finds him in top form, completely at ease with the language and fluently using to great effect the same subtle approach and lively visual grammar perfected in his two earlier films, Reprise and Oslo, August 31st. This story of the husband and two sons of a celebrated war photographer who try to find a common ground three years after her death in a traffic accident is richly detailed, sensitively played and cleverly mounted.