Our review of the film Killers of the Flower Moon: Scorsese takes down the moon

By Eric Neuhoff



Martin Scorsese reflects on his country’s original sin. It deserved such a fresco. Copyright Imperative Entertainment

OUT OF COMPETITION – The filmmaker was given a standing ovation for his film in the form of a fresco on the misfortunes of an Indian tribe in Oklahoma. Great cinema.

The Great American Novel is a film. This white whale, the writers there had been chasing in vain for decades. Martin Scorsese had to devote himself. He hit the moon with Killers of the Flower Moon. Suddenly, the Croisette came to attention as a single man. Respect. Scorsese was there, faithful to the post. Had enough of illegal workers, bearded women, exploited migrants? Had enough of suicidal cops and teachers threatened with disciplinary action? Here is plenty of space and extraordinary destinies, mind-blowing breath and ambition as if it were raining. Don’t throw any more.

Read alsoMartin Scorsese in Cannes, look back on half a century of eventful idyll

A brief reminder of the facts. Uprooted from their original lands by the government of the time, the Osage tribes were allocated arid lands in Oklahoma that would later turn out to be full of oil. It’s a godsend. It is a disaster. The Indians are crumbling under mountains of money. They profit…

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