Cannes 2019: Dujardin, Luchini, the zombies of Bonello and Zahia at the Directors’ Fortnight 


                 

Paolo Moretti, the successor to Edward Waintrop, head of the parallel section of the Cannes Film Festival, unveiled his first selection. This 51st edition, from May 15 to 25, is characterized by increasing titles and a strong delegation of French films that, for many, flirt with the fantastic or a singular universe.

Twenty-six feature films For his first selection at the Directors’ Fortnight, Paolo Moretti, defector of the La Roche-sur-Yon International Film Festival, who also worked for the Venice Film Festival, did not skimp on quantity. This number is well above the average of previous editions. At the press conference held again this Tuesday, April 23 at the Forum des Images, the new delegate general said that of all the feature films selected, sixteen will see their authors land for the first time on the Croisette. “The Directors’ Fortnight also has the role of bringing in new directors,” said Moretti.

Seven French films are part of this selection, opened Wednesday, May 15 by Quentin Dupieux’s Le Suede with Jean Dujardin and Adele Haenel and closed by Yves de Benoît Forgeard ( Gaz de France ) whose dare we hardly dare to pitch. Because Yves is none other than a smart refrigerator supposed to simplify the life to the hero Jerem (William Lebghil). In this comedy about rap and star-up, we also find Philippe Katerine and Doria Tillier.

Doria Tillier et William Lebghil ont un frigo plein... de ressources!
The presence of Dupieux and Forgeard brings folly to this selection in which Robert Pattinson and Willem Dafoe are particularly expected with The Lighthouse by Robert Eggers, “a film that takes place on a distant and mysterious island of the nineteenth century,” said the coach.
Continue reading “Cannes 2019: Dujardin, Luchini, the zombies of Bonello and Zahia at the Directors’ Fortnight “

Cannes 2019: a week of criticism rich in first films

The Critics’ Week , a parallel section of the Cannes Film Festival, will take place from May 15 to 23, with a jury chaired by Colombian director Ciro Guerra ( Birds of Passage , currently on screen).

Devoted to the discovery of new talents, it presents only first and second films. Of the eleven selected, seven are in competition and four in special session.

Eight first films out of eleven selected

Among the eleven, appear eight first films, like Abu Leila of the Algerian Amin Sidi-Boumediene and the miracle of the unknown saint of the Moroccan Alaa Eddine Aljem. Two works that ” contrast with the type of productions that can be seen” in the Maghreb and are a reflection of “a new generation that comes from the short film” , according to Charles Tesson, General Delegate of the Week of Criticism.

The first deals with the civil war in Algeria, while the second is a fable about religious tourism.

Exploring other little-known regions of the 7th art, Critics’ Week has also selected first films from Costa Rica ( Sofia Quiros Ubeda’s Black Ash ) and Guatemala’s ( Nuestras Madres by César Diaz on the disappeared of the dictatorship). ).

The region will also be represented with the opening film, Litigante , second opus of the Colombian Franco Lolli ( Gente de bien ), presented as a portrait of a woman “in the vein of Pialat”.

French side, an animated film and two first films

France will be in competition with Jérémy Clapin’s animated film J’ai perdu mon corps , which explores many registers and tones: the fantastic, the poetic, the love story, almost the horror film, has underlined Charles Tesson.

In a special session, two first films complete the French contingent: The heroes never die of Aude Léa Rapin, with Adèle Haenel, who evokes the war in Bosnia by indirect routes (that of a possible reincarnation) and You deserve a love , first feature film by actress Hafsia Herzi, revealed by Kechiche, exploring the love relationships of young people.

Only feature-length film in the running, Vivarium , the second installment of the Irish Lorcan Finnegan, plunges a young couple (Jesse Eisenberg and Imogen Poots) in a fantastic camera.

In closing, will be the first film of Chinese Xiaogang Gu ( Dwelling in the Fuchun Mutains ), the first part of a trilogy and family saga to the rhythm of nature and the life of a river.

The jury will present three prizes including the Nespresso Grand Prix and an award for an actor considered a revelation, after rewarding last year Diamantino , pastiche on a football player in crisis, and Félix Maritaux for his interpretation of a prostitute in Wild .

Source: Cannes 2019: a week of criticism rich in first films

The one French film you need to see this month

If there’s one film you have to see in France this month then “Le Chant du Loup”, starring some of France’s most famous actors is the one. French movie experts Lost in Frenchlation explain why.

Submarine films are a subgenre of war films that are able to heighten intensity due to their unique setting.They are able to go beyond the normal tensions of the average action film by highlighting the close quarters and removal from civilization.In addition to the claustrophobia and isolation, there’s a number of things that can go wrong that far down, from machinery fires to decompression sickness.

Over 150 submarine films have been made in the past 100 years.This genre is popular with French and Americans alike, leading to successful films such as The Hunt for Red October in America and now Le Chant du Loup (The Wolf’s Call) in France, and even a cultural overlap in the English-language French-Belgian film Kursk.

Le Chant du Loup stars César Award winning actor, Omar Sy, who became one of France’s most popular actors after his role in Les Intouchables.

Mathieu Kassovitz of Amelie fame also stars in this film.He is popular in France and abroad, earning him numerous awards from Cannes to Chicago.

Le Chant du Loup is “the wolf’s call” the sound of a sonar that can be detected by the main character of the film, an acoustic analyst known as “the golden ear”.This film provides insight into French politics and warfare, fueled by director Antonin Baudry’s personal experiences from his time as a diplomat and advisor to the prime minister.

Source: The one French film you need to see this month – The Local

Agnès Varda, her life as a feminist activist

She shifted the cinematic look on the feminine, represented characters of women themselves in perpetual displacement – loafers, vagabonds … She accompanied all the struggles and feminist movements of her time. Journey of a militant woman.

“I’m an empty body, without you, without you.” Cleo’s heartbreaking song, camera face on a black background, is echoed now that death is no longer a threat to Cleo’s hero of 5 to 7, but a reality for the filmmaker who has given a voice to women.

While the New Wave is in full swing with hero figures with wrinkled feathers, because the women resist them (Out of breath) or disappoint (the adulterous mother of the Four Hundred Blows ), Agnès Varda – the only woman stamped group – stands out. After her debut feature La Pointe Courte, Varda is not afraid to build a film about an unpleasant, selfish heroine who only thinks about her image and her career.

Cléo flips into the film at the moment of this song, Without you, passing from the status of consumer item (Cléo is a singer of variety) to that of subject questioning its reflection and that of others. Cleo starts to look. As Sandy Flitterman-Lewis has analyzed: “It ceases to be an object built by the gaze of men, and assumes the power to look.”

This is what happens when Cléo enters the room where her friend Dorothée poses nude from behind, and that the camera passes subjective view. Cléo slowly approaches her. We see men and women carving the body of the model, all in their own way, the body of Dorothea which is multiplied.

He is never sexualized either by the eyes of Cléo or by that of the camera. Along the film, Varda questions the relationship between the muse and the artist, nudity and desire. Already Varda’s camera tells us that the female body is multiple and that we can film it without eroticizing it, and even give it an aura of power. We are in 1962.

Source: Agnès Varda, her life as a feminist activist – Les Inrocks