Cannes: Women behind the camera
The Cannes Festival has been accused of disregarding female directors for years. Suffice it to remind you that in over seventy years of the event's history, only once the Palm of Gold was picked up by a woman - Jane Campion for "The piano, moreover ex aequo with Chen Kaige, who in that year 1993 delighted with the film" Goodbye my concubine ". Very rarely, women's films go to the main competition.
- I always say the same thing: Cannes, like other festivals, is the last stage of the journey - defends artistic director Thierry Fremaux. - This journey begins at film schools. If there are more women in the film industry, there will be more women at festivals. This year's poster is Agnes Varda. But she was the only woman among the many New Wave directors. There are many more women behind the camera today, so there are more women in Cannes. But the principle will always be the same for women and men, for young and old, for Europeans and Asians: we choose and we will choose movies that we think deserve to be shown in the competition.
It's hard to disagree with & nbsp; & nbsp; Fremaux, although, for example, at the Berlin festival at exactly the same time women's representation has always been and is still much higher. Recently, moreover, all festivals, including Cannes, have signed commitments that they will seek equal representation of women's and men's works in 2020. And again: Thierry Fremau claims that such equality will really be possible not in 2020, but only in a few years. & Nbsp;
However, some progress can already be seen today: in the main Cannean competition for 21 films, four were made by women. Another 13 titles were included in the festival's official program, which includes the section Certain Look, short film competition and student film Cinefondation. & Nbsp;
For now, Fremaux believes that the strongest change is in African countries, where a very strong artistic representation of female directors is born. & Nbsp;
This year, an interesting Senegalese Mati Diop painting "Atlantique" has entered the competition. The story of unfulfilled love, a girl who, just before the wedding with a suitably wealthy candidate, returns to the old, true love. But it is also a story about people who have to look for better life behind the title ocean and often pay the highest price for it. Diop made a disturbing movie, combining realistic convention with metaphysics, horror and a record of the imagination stimulated by the tragedy.
She delighted with her competition film Frenchwoman Celine Sciamma. Her "Portrait of a Young Woman on Fire" is an artistically carved, visually beautiful costume story of two young girls who are getting closer in a society that is absolutely not ready to accept the free choice of women. Things are happening in Brittany in the second half of the 18th century. The heroine, Marianne, is engaged to paint a portrait of Heloise, who will soon marry an Italian whom she does not even know. Two young women approach each other, a feeling is born between them, first delicate, then more and more violent, full of passion. But the world and life are following their own course. Everything that happened between them is doomed to failure. It can only become a memory that they will cherish for years. & Nbsp;
Jessica Hausner, a years ago the author of the great "Lourde" about the miracle and need of faith, ventured into completely different areas. Now the Austrian is venturing into completely different areas - she is looking at a world in which everything can be scientifically modified. A world in which the pursuit of happiness that we know more and more reigns. Alice, the heroine of the film, under the sterile conditions of a large corporation, grows a genetically modified flower whose fragrance is to make people happy. He gives his first specimen illegally to his son, whom she raises. Creates & nbsp;
And before us is another competition image made by a female director - "Sybil" Justine Triet - the story of a psychotherapist who returns to her first great passion - wants to become a writer. & Nbsp;
Will any of these films break through the works of Almodovar, Loach, Jarmusch, Dolan, brothers Dardenne, Ladja Ly? It seems that the most complete, artistically articulated work was shown by Sciamma. But Thierry Fremaux is right. The gender of the director should not be an indicator in assessments. Emotions and the form matching the story are important. And the competition is huge this year. & Nbsp;
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