‘Simon Of The Mountain’ Review: Federico Luis’ Critics’ Week Winner Is A Wholly Original Debut – Cannes Film Festival
27.05.2024 - 11:37
/ deadline.com
Simon has a strong twitch that drives him to shake his head, meaninglessly. He sometimes dribbles. The way he looks out at the world from under his brows, especially when people are talking to him, suggests he can’t quite keep up with what they’re saying. When he meets a group of young people from a local daycare center for the intellectually disabled, he naturally falls in with them. He befriends Pehuen Pedre (playing a version of himself) on the top of a mountain, where the group has walked and gotten into difficulties in high winds. When they all manage to get down and back on the bus, Simon gets on board with them. This is where he belongs.
Simon of the Mountain, Argentinian director Federico Luis’ moving, puzzling and wholly original debut feature, which won the top prize at Critics’ Week in Cannes, is a callback to Luis Bunuel’s 1965 classic Simon of the Desert. Bunuel’s film, shot in Mexico, is an anti-clerical lampooning of a saintly ascetic, Simeon Stylites, who reputedly sat on top of a pillar in the desert for several years to show his devotion to God. Luis’ Simon is not devoted to anything, but he seems also to have chosen a path of denial.
What is wrong with Simon? His mother (Laura Nevole) alternates between telling him to snap out of it and imploring him to talk to her, to explain why he is doing this, why he has chosen to befriend these outsiders, why he is so belligerent. Her boyfriend Agustin (Agustin Toscano, also one of Luis’ two co-writers), who drives a moving truck for a living and is kind enough to employ erratic Simon, will not interfere.
At first, Simon’s mother seems as wicked as the character of Satan who appears to tempt Bunuel’s Simon off his pillar. How could any mother be so cruel
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