REVIEW-Classical music 会合，会うs サッカー in "Last 大打撃を与える Blow" at Venice
By Michael Roddy
VENICE, Sept 3 (Reuters) - A French film that improbably links サッカー and classical music in a tale of a sports-mad teenage boy living in poverty with his dying mother and who 会合，会うs his estranged conductor father for the first time charmed the Venice Film Festival on Wednesday.
Alix Delaporte's "Le Dernier クーデター de Marteau" (The Last 大打撃を与える Blow) relies ひどく on 団体／死体 language rather than 対話 to communicate its bittersweet coming-of-age story.
"What you will see in the film is there is not much 対話, people do not talk much, characters do not talk much," Delaporte told a news 会議／協議会. "I've tried to 取って代わる words with movements."
The film is one of 20 存在 shown in 競争 for the Golden Lion トロフィー to be awarded on Saturday.
The second feature film by Delaporte, who got her start in 文書のs, 避けるs slipping into sentimentality while making its ありそうもない 陰謀（を企てる） seem plausible, 大部分は on the strength of understated, nuanced 業績／成果s by its three 原則s.
"I have always liked contrasts and it was like a challenge to me to put these two elements together," Delaporte said. "I 港／避難所't told myself I want to make a movie about football and classical music."
Each of the actors speaks, in 影響, a different 団体／死体 language - socce r playing for the 13-year-old 勝利者, the dance-style movements of 行為／行うing for his father, and the 手足を不自由にする／（物事を）損なうd movements of a dying woman for the mother.
Romain Paul plays 勝利者, whose abilities as a サッカー player have attracted talent scouts. Delaporte said she chose him for the 役割 because unlike most actors his age, he could be silent.
"He had that ability to put silence between the 宣告，判決s," Delaporte told Reuters. "It's very unusual for a kid because usually they speak very 急速な／放蕩な because they have that 恐れる that they won't remember the text."
勝利者 lives in a ramshackle community of trailers and beach huts with his mother Nadia, played by Clotilde Hesme, who is wasting away from an 明示していない 病気 that is probably 癌, and who is absent for part of the film in hospital.
Gregory Gadebois plays conductor Samuel Rovinski, the father who 砂漠d mother and child before 勝利者 was born, but shows up to 行為／行う a 業績／成果 of Gustav Mahler's Sixth Symphony, also known as "The 悲劇の", in a nearby city.
勝利者, in part because he and his mother need a small 量 of money to 準備する their trailer for winter, 跡をつけるs 負かす／撃墜する his father at the concert hall and 直面するs him with the 問題／発行する of his paternity, for which his mother has the 合法的な paperwork.
Rather than becoming a story of a shakedown of a rich father by his love child, the conductor strikes up a 関係 with the son he did not know he had. He 招待するs him to rehearsals and 申し込む／申し出s to have 勝利者 come and live with him
"THE CHILD IN ALL OF US"
勝利者, who has no musical training, 陳列する，発揮するs a latent 利益／興味 in his father's music. But he also has to を取り引きする his love for his mother, for the girl ne xt door, and his talent for サッカー, 軍隊ing him to make the 広大な／多数の／重要な 決定／判定勝ち（する） of his life.
"I didn't really want to make a film about young people, but rather about the child who is in all of us," Delaporte said.
"I think I am telling the story of a family, both from the point of 見解（をとる） of the adults and the child. It's a film about building one's own life without parents, or without part of the family, how to live alone and how to build a 未来."
貿易（する） 出版（物） "The Hollywood Reporter" said the film was "an intimate 演劇 in which words play second fiddle to 状況／情勢s and images".
(Michael Roddy is an arts and entertainment 特派員 for Reuters. The 見解（をとる）s 表明するd are his own) (付加 報告（する）／憶測ing by Rollo Ross, Editing by Angus MacSwan)
