Cannes plays its usual cards in 2019: Almodovar, the Dardenne, Dolan, Malick, Loach, Suleiman ...
Here's how the Cannes Film Festival responds to competition, the Venice Film Festival, which last year took Netflix films, including Roma, by Alfonso & Cuarón, and other Oscar nominees: a handful of habitués & nbsp ; in the competition, with Jim Jarmusch starting, and then Dolor y & nbsp; Gloria, by & nbsp; Pedro Almodovar, the brothers & nbsp; Dardenne, Xavier Dolan, Terrence Malick, Ken Loach ... & Announced late Thursday morning These are some of the filmmakers going through the 72nd edition, which starts on May 14th.
Quentin Tarantino is still ending Once Upon a Time in Hollywood, and it is premature to give it to the competition, which would be gold over blue as the 25th anniversary of Pulp Fiction's Golden Palm is celebrated in 2019. But Thierry Frémaux, the festival's delegate general, still hopes that Quentin's sprint, which works on its 35mm copy, can make the film arrive on time. & Nbsp; Ad Astra, James Gray's science fiction, may also be added. But Verité, by Hirokazu & nbsp; Kore-eda, "French film" by the Japanese filmmaker who won the Palme d'Or last year, will be left for the fall. Nor does it appear in the list Mektoub My Love: Intermezzo, the continuation of Mektoub My Love: Corner First, that Abdellatif Kechiche was riding at the end of last year to be ready for Cannes - as he himself assumed in talk to the epsilon.
For now, and after the press conference in which Frémaux and Pierre Lescure, the festival's president, announced in Paris the selection of 2019, weighs what does not appear here. Developers are aware of the expectations awaiting issue 72. So at the beginning of the press conference they tried to look back at issue 71, so that for American journalists there was no buzz, leaving them with no subject to write about. , and fixed their version. Rescued 2018, they said to themselves “angry”: The Golden Palm, Shoplifters - & nbsp; A Family of Little Thieves, by Hirokazu Kore-eda, made 800,000 viewers in France, double what a Japanese filmmaker's movie does ( merit of the Golden Palm, meaning Frémaux and Lescure ...); debuted there & nbsp; BlacKkKlansman: The Departed, with which Spike Lee had the first Oscar of his career (not only Venice gets there, & nbsp; they meant ...); and there was Gilles Lellouche's Ou Nadas or Sundaes, which would become one of the successes of the French market and a specimen that the French knew how to cultivate but which is threatened on all sides: the publicly-guarded public movie ...
Anyway, it will be a good continuation, seem to have meant. Just Cannes to make the party without leaving the comfort zone. It may be countered: more of the same. It is too early to say: the films have not been "opened", just look at the package for now.
That's "what" there are, 19 films in competition, a selection played by romanticism and politics, description of Frémaux, with a gallery of zombies, judges, unemployed, mobsters, painters and singers. And where “gender cinema, even if in disguise” predominates. So let's move on to Jarmusch's zombies, The Dead Don't Die, opening movie, day 14, with this cast: Chloë Sevigny, Adam Driver, Tilda Swinton, Bill Murray, Steve Buscemi, Tom Waits, Carol Kane, Danny Glover or Iggy Pop.
Then the new Almodóvar, with a non-autobiographical film, Dolor y Gloria, but whose main character, a director (Antonio Banderas), could be Almodóvar himself, yes, he said.
Marco Bellochio in Il Traditore is interested in a repentant Sicilian mafia and Jessica Haustner in Little Joe for genetic manipulation. Bong Joon Ho returns to competition with Parasites - it was by the way of Okja, the South Korean film Netflix that Cannes selected two years ago for contest, which began the protests of the French industry against the disregard of distribution market rules by part of the streaming platform, which led to the festival barring films with no show schedule in the competition (the thing is, for now, on the back burner).
Belgians Jean-Pierre and Luc Dardenne & Briton Ken Loach, twice awarded the Palme d'Or, seem to have never left Croisette: the former will present Le Jeune Ahmed, on a “hot topic for Belgium and for Europe ”(the synopses tell of a teenager torn between his imam's ideals and the pleas of life and planning to kill the teacher) that Frémaux has failed to develop (but this is already happening: a French market debut on the day of exhibition in Cannes); Already Loach, winner of the Golden Palm in 2016 with & nbsp; Me, Daniel Blake (film outraged by human devastation but with a delicacy to look at what resists in the space of feelings), & nbsp; after all has not abandoned the cinema and is there new: Sorry We Missed You. Like Terrence Malick, who returns to World War II with A Hidden Life. Or like Xavier Dolan, who after the English-language experience, The Death and Life of John F. Donovan, who has been critically buzzed, returns to the festival that created him, to be spoiled: Mathias & amp; Maxime, in which he is also an actor.
It will be good to review Brazilian Kleber Mendonça Filho, who continues Aquarius & nbsp; and that moment of Cannes 2016 & nbsp; in which the first film crew put up posters on the red carpet of the Palace of Festivals saying that there was “an ongoing coup in Brazil ”With Michel Temer's interim government: the filmmaker now directs, with Juliano Dornelles, & nbsp; Bacurau, a“ northeastern western ”. Céline Schiamma does not make her debut in Cannes (Gang of Girls was one of the events of the Directors Fortnight in 2014), but makes her debut in the competition: & nbsp; Portrait of a young woman, a love story between a painter and her model , France 18th century. Speaking of French: Oh Mercy !, Arnaud Desplechin, who is from Roubaix, Northern France: in this film he faces his region.
Where is Elia Suleiman from? He is Palestinian, but he is a wandering figure in exile. All of his films have been featured on Croisette; the new one, shot between Paris and New York, will also be: It Must Be Heaven. Let's wait ...
Complete - for now - the list of contestants - The Wild Goose Lake, by Diao Yinan; Atlantique, by Mati Diop; Les Misérables, by Ladj Ly; The Whistlers, by Romanian Corneliu Porumboiu; Frankie, by Ira Sachs (with Isabelle Huppert, filmed in Portugal); and Sibyl, by Justine Triet.
The Un Certain Regard section beckons us in the meantime with Jeanne by Bruno Dumont, who continues his exploration of the figure of Joan of Arc after Jeanette, or with Liberté by Albert Serra. Out of competition, we meet the characters of A Man and a Woman: Claude Lelouch and his actors Jean-Louis Trintignant and Anouk Aimée continue the story in Les plus belles années d'une vie. Still Dexter Fletcher's Rocketman about Elton John, who will go to Cannes, Too Old to Die Young (two episodes of Nicolas Winding Refn's series) or Asif Kapadia's Diego Maradona, a filmmaker who has portrayed Amy Winehouse and Ayrton Senna . In Special Sessions, the very special Werner Herzog (Family Romance, LL), Abel Ferrara (Tommaso) and Alain Cavalier (Etre vivant et le savoir).
A special Palm of Gold will be handed over to the dark and narcissistic Alain Delon, who is, with the manor and Je-m'en-foutiste Jean-Paul Belmondo, the largest living French star.
The poster of this 72nd edition honors Agnès Varda (1928-2019). It is an image crafted from the shooting of La Pointe-Courte: & nbsp; August 1954 Agnès overcoming obstacles to dominate the filming sea at Sète in the South of France. “Nouvelle vague's first director”, “the first director in a Cannes poster”. Frémaux Numbers: There are 13 women filmmakers in the various sections of the 2019 Cannes Official Selection and four compete for the Palme d'Or.
The PUBLIC has consolidated its position as the most important newspaper in the country. More than 6.5 million visitors visit our online site every month. But it's not just the quantity, it's the quality of those who read us and those who write here that make the PUBLIC the reference it is. We are the axis of a community that wants to know where it is going and wants to be able to freely choose the way forward. For this, those who read us rely on our independent journalism, the reputable opinion of our chroniclers, the in-depth analysis of the experts and the unique views of each reader. All together, it allows each one the broad view of the world on which to make the best decisions.