The great masters of Cannes are seen for the first time at Les Films de Cannes in Bucharest
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As every year, and in 2019, the Cannes line-up has shown itself as a real battle between the titans of the heavy-duty world cinema, with ages ranging from 30 to 82 years. A free-style confrontation of the creative forces of genius that will be reopened in Bucharest in October. & Nbsp;
The Cannes team manages to combine, emerging, talented young talents, with sacred monsters, European films with something new and exciting in Asia and with American productions expected or unplanned. This long-awaited mix with the soul at the mouth, always enthusiastic, has become, over time, a brand identity.
From the first year of existence, the festival introduced Italian neorealism to the whole world. Since then, he has contributed to the discovery of unknown cinemas (among which the Romanian one), but also to the great masters. At Cannes, glories are made, and at times, sills are shattered. Despite the surprises, year after year, as Peter Bradshaw recently wrote in The Guardian, "the festival aligns its alpha gorillas in the league of authors together with fresh iconoclasts, disruptive young men and old boys." You can see them all at this year's edition of Les Films de Cannes in Bucharest, October 18-27, at Cinema Pro, Cinema Elvire Popesco, Cinema Peasant Museum Roman, Cinemateca Union and Instituto Cervantes. & Nbsp;
Family love as a pretext for business: a man is hired to play the missing father of a 12-year-old girl. "Believe it or not, the freshest film from this edition is made by a 76-year veteran," wrote the site Mubi. Self-financed and filmed by Herzog himself in Japan ("I had a little and robbed a bank", he confesses in an interview), the film has the "immediate immediacy of a gonzo adventure made with a minimal plan, but with maximum enthusiasm. The result is something spontaneous and free, of sublime weirdness and intelligence, which blurs the line between fiction and documentary. Like Little Joe, the surprisingly consonant film directed by Jessica Hausner, the director investigates the fragile nature of authenticity in the modern world. & Nbsp;
Werner Herzog, the great and eccentric German master (with 6 presentations at Cannes, Award for best director thanks to Fitzcarraldo, 1982 and FIPRESCI for The Enigma of Kaspar Hauser, 1975) is one of the few filmmakers who gives you an electric meeting with the world which he films incomparably, with fascination and wonder.
Together with Ken Loach, the Dardenne brothers are considered to be masters of socially charged humanistic cinema. Perhaps it's not a coincidence that they and the British are also part of the select group of directors who have twice won the Palme d'Or, the festival's highest trophy. After exercising their hand and obsessions with documentaries, they debuted with Falsch in 1987. Their third film, La Promesse (1996), was screened with significant critical reverberations in Quinzaine des Réalisateurs. In 1999, she promotes in competition with Rosetta, the film that will bring her the first Palme d 'Or, but also the Prize for the best actress - for the debutant Émilie Dequenne. & Nbsp; & nbsp;
The Belgian brothers consolidated their reputation as promoters of realistic cinema, but not miserable, but full of understanding and even suspense, but also of filmmakers who make their actors excel: Olivier Gourmet is nominated for best actor in Cannes, in 2002, for Le Fils. In 2005, I obtained the second and most deserved Palme d 'Or for the Rapture L'Enfant. Le silence de Lorna receives the Best Screenplay Award in 2008, and Le gamin au vélo will win the Grand Jury Prize. This year's distinction (the best director) turns them into some of the most gallant and most appreciated Canadian authors. & Nbsp; & nbsp;
Le Jeune Ahmed is an extremely current story, that of the temptation of radicalism, told with intensity, empathy and directorial mastery. In today's Belgium, Ahmed, who is only 13, is caught between the purity ideals of his imam and the temptations of his teenage life. "A film of rare strength", writes the French daily Le Nouvel Observateur, and Télérama believes that "the Dardenne brothers sign a striking portrait, impregnated by a great humanity." & Nbsp;
Roubaix, one Christmas night. Police Commissioner Daoud and his colleague Louis are investigating the death of an old man. Two young men, Claude and Marie, are brought in for questioning. Unbaked, alcoholic, in love with each other. & Nbsp;
Arnaud Desplechin, one of the most effervescent and innovative minds of French cinema, was often selected at Cannes (he had 8 appearances, of which 6 in the Competition), but never rewarded. Desplechin appeared as a unique, unchangeable talent, with La sentinelle, his debut film. He then made Comment je me suis disputé ... (ma vie sexualelle), which introduced to the world a new generation of French actors. The interpreters of his films have often received great prizes, among them also being Catherine Deneuve, acclaimed in Cannes, in 2008 for Un count de Noël. & Nbsp;
With this new film, the director is inspired, for the first time, by a real event, by a sordid fact 12 years ago, whose details have not ceased to obsess him. For La Croix, it's a "powerful film about guilt and pity, where Léa Seydoux and Sara Forestier are awesome." & Nbsp;
Ken Loach initially made his debut as a television director, after being recruited in 1963 by the BBC. The seduction of the big screen was stronger and became the most awarded British director in Cannes, with two Palme d 'Gold and 14 other selections in the Competition. Thanks to this festival he was appointed as the master of social films, deeply involved and politically engaged. In his new film, screened in this year's Competition, Ricky and his family have been in debt for several years in Newcastle. Temporarily out of work, Ricky sees a tremendous chance when he is given the opportunity to be a courier and driver on his own car. It therefore enters the infernal spiral caused by uber-ization ... & nbsp;
"Loach's clear, compassionate gaze trained in the daily struggles of the British working class. At the age of 82, he succeeds in one of his most powerful works with Sorry We Missed You, a drama of such consuming empathy and daily despair, that in the climax of the climax it stops your breath. "- Hollywood Reporter. & Nbsp;
Here is another sacred monster, this time from the prolific Italian cinema, present at this year's Cannes Competition. Bellocchio has been directing since 1965 when, breaking with the neorealist tradition, his heavily politicized films attacked the Italian symbols of conformism. With A Leap in the Dark (1980) he won two actor awards for Michel Piccoli and Anouk Aimée. Then he makes the leap from subversive films like Devil in the Flesh, which sparked a scandal in Cannes in 1986, to literary adaptations after Pirandello as The Conviction (1991). In 2002, Marco Bellocchio again disturbs the Vatican with My Mother's Smile, selected in the Cannes Competition. & Nbsp; & nbsp;
The Traitor, applauded on stage for 13 minutes by the audience on the cruise, happens in the early 1980s, when a war broke out between the Sicilian mafia bosses and the clans involved in drug trafficking. Mafiot Tommaso Buscetta, scared to be killed, decides to contact Judge Giovanni Falcone and to betray the eternal oath made for Cosa Nostra. Italian journalists present at Cannes appreciated the film for the interpretation of Pierfrancesco Favino, one of the most talented and versatile Italian actors and considered that Bellocchio made, "with a young creativity, a free and generous film." & Nbsp;
Two childhood friends are kissing for the filming of an amateur short film. As a result of this seemingly harmless kiss, they have to face their own preferences, upsetting their lives.
Ten years of career and eight feature films - just 30 years old Xavier Dolan, the terrible child of cinema, continues to shock and amaze. After the Jury Prize for Mommy (2014) and the Grand Prize for Juste at the end of the world (2016), Xavier Dolan returns to the Cannes Competition with an intense and delicate drama that explores the themes of friendship and personal identity. "Dolan's new guru-like film is a coming-of-age story or, rather, one about the maturing of thirty-something. Or maybe it's a portrait of a gang of friends for whom things will never be the same again. It's not about a sexual awakening, because that sexuality never fell asleep. But it's a love story. ”The Guardian. & Nbsp;