Marie Antoinette!!!

As I left the room, that makes me feel like in a dugeon, from the Geologic Museum's cinema I ran straight to the WC. My bladder had screamed for attention for almost an hour and my thoughts were in uproar because of its tantrums. At the restroom, someone says: "I can't tell if I liked it; I didn't feel much of the era; I thought it'd talk more about the French Revolution." If he were beside me he'd see my look of disgust at his comment.

Sofia Coppola was commented a lot last year with her Marie Antoinette biopic; she was booed in Cannes [a very quirky audience, let's face it], divided the critic opnion all over the world for a long while and the general public seemed to had developed a hate against her. So, back to the creature at the restroom, I can't say that I did not expect such reaction; the room - filled with adults on their 30's, some on their 60's and other few on their 20's - didn't seem as much excited as I was at the end of the session. When the guy from the toilet said that, something clicked in my head and I couldn't help saying: "maybe because it's a movie about Marie Antoinette and not about the French Revolution."

A while ago, as I chatted with my dad about the infamous queen, I realized that much of what we know about Anoinette is from the story told by the winners, the revolutionaries [including the famous and blasé line about the cakes]. Coppola's film, as Cinema itself, isn't worried in educating about French History. During the movie's two hours we dive into that young Austrian's universe, that as arriving in Versailles spent most of the time facing in silence the ridiculous protocols and the French nobleness' gossips. Until the moment she became queen and finally fit in, even if not as expected: Marie Antoinette - according to Sofia Coppola - reinvented the Versailles's court.

As a young woman trapped in that noble boredom, she just seeked for fun. As I watched Sofia's film I could not help amazing myself with her anachronisms. From the delicious soundtrack to one of the most anticipated [by me] sequences of the movie: a series of marvelous dresses and shoes is paraded, till suddenly, almost imperceptibly, comes a beautiful and blue pair of Converses! My laugh echoed in the silent room, that was probably unaware of the anachronism or its geniality.

Frivolity was the only subterfuge Antoinette found to keep herself busy among a bunch of people who much less cared about the rest of France's population. However, that's not this movie's intention. Although we're in perfect harmony with the heroine's mind and spirits [when she's in ecstasy, we're too, when she's bored, we're too], it's impossible to feel for a moment impelled to judge her, her actions and attitudes, based on the historical facts we know. Excusing myself for the frankness, imbecile is that who seeked historical accuracy in this movie. Actually, imbecile is that who seeks historical accuracy in any film; you can even come across something, but in the moment Cinema becomes a History lecture I'll simply stop going to the movies.

This was one of last year's most anticipated by me. The waiting lasted several tedious months, being entertained only by a sadistic deity and a strong woman hunted by her mother's spirit [there also was the woman ahead of her time, but she wasn't exactly from last year]; when the film finally opened in Brasil, in March, I still had to wait another eternity until this weekend and it, once more, fixed Sofia Coppola's place at my altar.

[Song: Ceremony - New Order]