At the end of We Own The Night by James Gray (2007), Eva Mendez Joaquin Phoenix does not reach. She does not attend the final ceremony police. Joaquin Phoenix believes the show. But she did not come. James Gray is playing with our feet. She's gone. Forever. Joaquin Phoenix has decided to join the police, abandons his drugs, his power, his father died, he returned to normal. So, she left. He knew. Nicolas Cage in Bad Lieutenant The , Port of Call - New Orleans (2009) by William Herzog suffered a fate quite different. Eva Mendez is still with him. During the final police ceremony, it is not only there but also pregnant. It is therefore, if you will, this super-or triple that. Because the film is to speak the omnipotence of the creator. William Herzog defies gloomy and fatalistic gears that should have lead as Nicolas Cage, his father, Eva Mendez death. He thwarts a minute and solves all problems violent, painful, that the film has managed to impose on them thoroughly. William Herzog also creates loopholes that moist and warm welcome. James Gray drives nails, darkening the landscape, produces the ambiguity moral, and leaves no open window. His talent, so obvious, so grand, so New York, is an art contrite mold (New York is a city that is falling apart). His films are acts and characters locked in permanent state of asphyxia. His eldest Bavarian wiser. And, similarly, his films have never changed. Without doubt they have become more beautiful, less forced, more delicate. They are borrowing a reasonable practice, clairvoyant, gifted miracles. William Herzog's films are soft and tender. They are marked as such dementia. The Bad Lieutenant, Port of Call - New Orleans is not the remake of Bad Lieutenant Abel Ferrara (1992). The twentieth century is over, thankfully.
Rémy Russotto
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