Cannes Film Festival 2019: all the hustle and bustle [SUMMARY]

Cannes Film Festival 2019: all the hustle and bustle [SUMMARY]

The 12-day marathon is over. The Golden Palm won the unquestioned favorite, and the jury did not forget to award the remaining titles that ignited the imagination of the viewers. As many as three out of four films made by women who took part in the Main Competition won the statuettes. However, there remains a feeling of hunger and questions about what to do next.

Both films awarded the Jury Award impressed me. I wrote about them almost at the same time, because the premieres of "The Wretches" of young French debutant Ladja Ly and "Bacurau" Kleber Mendonç Filho and Juliano Dornelles are scheduled for the same day. "Ladj Ly has not only an eye sensitive to social injustices, but can also wrap and sell these difficult topics attractively. You can feel incredible instinct, talent to use the power of visual communication. Several scenes in the film are literally breathtaking" - it's about in the movie block Ly, which in a strange way synchronized with "Bacurau" - also taking place somewhere on the margins of society. In both films it is not difficult to feel dissatisfaction with the actions of the authorities. "Bacurau" is a clear, satirical manifesto aimed at the actions of the new president of the country, Jair Bolsonaro. Populist and the representative of the far right are apparently not disturbed by the problems that are bothering his inhabitants. As he announced some time ago in Davos, he dreams of opening westward, introducing foreign capital into the country. This perception of the economy is clearly ridiculed by the creators of the film, which in the roles of villains put degenerates alive downloaded from the front pages of American newspapers.

The award-winning "Atlantique" Grand Prix also caught my attention "Former actress Diop, coming from an artistic family, mixes conventions in a very interesting way." Atlantique is on the one hand a realistic social cinema, on the other it moves in the space of magic, mysteries and jinn. Also noteworthy is the way showing young women on the screen, definitely in contrast to the stereotypical representations of young African women. The characters are independent, connected with the world, dressed in a modern way, outspoken. And yet they are still restrained by traditional canons and conventions. Reading "Atlantique" as a story about connection with this entails what unconscious and repressed.

"Little Joe" Jessica Hausner brought the Emily Beecham statuette. The film itself, despite the interesting idea, strongly disappointed. However, we selected this statuette before the ceremony despite the lack of sympathy for him. In this year's rate there were literally several films with large female roles, including two weak ones that immediately fell out of the potential winners' list - "Frankie" and "Sybil". A clear sign not to call the movie the name of the main character? Antonio Banderas in "Pain and Glitter" was great, but only such a prize for the fantastic film Almodovar is not enough. "Dolor y gloria", almodovarowskie "8 ½", is viewed as an intimate autobiography, translated into a language known to its author. Although the hair was grayed out and the body lost its flexibility, the same language that used to be - just today, instead of shouting, whispering "- I was delighted with the film right after the premiere. Unfortunately, the annual Cannean dilemma returns. Because the jury can award only one statuette to a given film , often has to make strategic decisions, shift points, and maneuver.

I think it is also the case of the director's award for Celine Sciammy, who made one of the most special films in the competition. If it were Oscars, "Portrait ..." could get several awards, here one had to choose one and the director's distinction seems to be a hit - this film is proof of her sensitivity, awareness and extraordinary talent. Sciamma not only with the skill of an experienced psychologist looks into the heads of her heroines. Despite the action set up nearly 250 years ago, she manages to paint this, visually flawless story, to carry out close to the most vivid and most important topics today. Over the space of nearly two hours, the director smoothly moves from socially engaged cinema, through a passionate romance to a full-blown drama, spice up with a pinch of ethereal surrealism. This film understands women, appreciates them and wants to know more about them. It's like a poem that you want to remember to be able to come back to it at any time.

Actually, the only title that broke into the favorites unexpectedly, despite the intuition of journalists, was "Young Ahmed" by the Dardenne brothers. "This is a subtle and timely tale of the radicalization of those who are" theirs ", but the Dardenns do not penetrate deeply into the head of their hero. The accompanying, observational style that does not foster moral-ethical judgments, often took their films to the level of masterpiece, but in this case he is not an advantage. "Young Ahmed" is an important voice and a successful film, but he is far from "Rosetta" or "Child". Perhaps the magic of the name worked? Or maybe poetic intervention cinema is what the jurors like the most?

I am proud of the jury that it did not succumb to the magic of names. They leave Cannes and Tarantino and Malick empty handed. Both did not bring their best cinema here and lost to better ones. Although Quentin does not return to the USA without anything. A few days ago, along with Pitbullka Brandy received Palm Dog for the best dog role.

You cannot close this year's adventure without asking what to do next. Cannes another year sags its neck against French sweepers and excludes Netflix. The example of Venice can prove that it is worth leaving this clinch. The local artistic director has made his hallmark of openness to new technologies. In 2018, more international titles and stars adored by Cannes came there.

I would like to write cross-cuttingly about the whole festival and all its sections. Build a full picture of this year's Cannes. Unfortunately, programmers have been experimenting with the press schedule for a long time, and the current one prevents the press from watching several festival sections at the same time. Breaking out of the Festival Palace to the cinemas, where the Critics Week or Director’s Fortnight sections are shown, is virtually impossible. It's a bit of an industry detail, but it affects how the festival is described in the media. Many interesting titles just don't get a chance to appear in them. Know, readers and viewers - you don't get the full picture of Cannes.

You will get a chance to watch movies that have left Cannes with statuettes. The best of the awarded titles already have Polish distribution. "Parasite", "Girl ..." and "Pain and Glow" are Gutek Film, "Les Miserables" - M2 Films, "Young Ahmed" and "It Must Be Heaven" - Aurora Films. In turn, many honored titles from the Un section Certain Regard took care of the New Horizons Association, which won the films "Fire Will Come" by Olivier Laxe (Jury Award), awarded for directing "Beanpole" by Kantemir Balagov and "Liberte" by Albert Serra.

Twelve days of sleep shortages made up at the cinema, frustration, queuing, quarrels with bodyguards, arms crushed from carrying a laptop. Twelve days as close to the heartbeat of cinema as possible. See you in a year!

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