2023-05-27 12:15:00
Cend lap for 76e Cannes Film Festival which, for twelve days, delivered its harvest of films and ends on Saturday evening on the traditional prize list with the Palme d’Or. For the record, it should be noted that the CGT Energy of the city, still fighting against the pension reform, carried out here and there a few gas and electricity cuts but did not disturb the projections of the Palace . No doubt so as not to disturb their comrades from the CGT Spectacle who have their habits and their privileges at the Festival…
Something to reassure the stars of the Croisette: Harrison Ford back in a spectacular Indiana Jones and the Dial of Destiny (in theaters June 28), Robert De Niro and Leonardo DiCaprio brought together by Martin Scorsese in a magnificent film, Killers of the Flower Moon, which is a great lesson in cinema. Two out-of-competition films which did not overshadow the twenty-one others in competition, loved (or not) by the editorial staff of the Point.
WE love…
Zone of Interest : nausea
Suggesting the horrors of the Auschwitz-Birkenau camp without showing them, using the off-camera frame and a soundtrack that unrolls like a long complaint where screams, tears, gunshots intermingle. Result : Zone of Interest, a chilling, terrifying film by Jonathan Glazer who adapted the novel by his compatriot Martin Amis, who died on May 19, the same day the film was screened on the Croisette. A sort of nightmare waking up to the banality of evil embodied by the SS commander of the camp, Rudolf Röss, and his family who lead a peaceful life a stone’s throw from the crematorium ovens…
Dead leaves : the sweet melancholy of Kaurismäki
https://www.youtube.com/watch?v=kdsx43UPs1g
And if the palm rewarded love this year? The funny and melancholy encounter of two solitudes at random one night, in Helsinki, seems to have made everyone agree on the Croisette. In Dead leavesthe Finnish director of The man without a past (2001) puts on the same path an alcoholic worker battered by life and a supermarket employee who feeds on expired unsold food. While the war rumbles in Ukraine, while the world around is only sound and fury, Kaurismäki recalls, in this timeless film, as poetic as it is laconic, that when nothing is going well, feelings remain to save us. A jewel.
Monster : everything is good in this pig
Palme d’or 2018 pour A family story and present last year with The Lucky Stars (Best Actor Award for Song Kang-ho), Japanese filmmaker Kore-eda, always sensitive to childhood, is back with Monster. A film conceived as a tale, which explores the secrets and lies of a strange boy, Minoto, who thinks he has the brain of a pig. There are many mysterious things happening around him. What is the part of truth or lie? Kore-eda uses here the structure of Rashomon of his compatriot Kurosawa which consists of showing several versions of the same story. We are charmed.
In theaters, June 2.
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Pick up : blasphemy according to Bellocchio
Just one year after the presentation on the Croisette ofNight exteriorhis extraordinary series on the kidnapping of Aldo Moro (broadcast on Arte), Marco Bellocchio is back in competition with another uprooting, this time that of a six-year-old Jewish child, Edgardo Mortara, in Bologna of the XIXe century. Based on a news item, the Italian director takes as a starting point, as often in his films, the intimate story, to pass the institution – here, the Catholic Church and the pontifical power – to the sieve of a decidedly uncompromising look. Powerful.
The Queen’s Game : royal !
Classic style and royal acting of the actors. Fat, bearded, Jude Law is unrecognizable and appalling in the skin of Henry VIII, cruel and paranoid King of England – who has already murdered his two wives and repudiated a third. Despite the threats hanging over her, the sixth and last wife, the impassive and rebellious Catherine Parr (Alicia Vikander) secretly supports her friend, the rebellious Anne Askew, whose fight heralds the advent of Protestantism. The Brazilian director Karim Aïnouz signs this beautiful historical film on the downfall of a king and the resistance of a queen against despotism.
The Passion of Dodin Bouffant : to your taste buds!
Love and gastronomy: the two go hand in hand in this refined and drinkable film directed by Franco-Vietnamese filmmaker Tran Anh Hung, whose delights we have already appreciated in The smell of green papaya (1993). In The Passion of Dodin Bouffant, this time he takes us to the French countryside, around 1885, alongside Eugénie (luminous Juliette Binoche), an outstanding cook in the service for twenty years of the famous gastronome Dodin (Benoît Magimel, an assumed epicurean). Both admire and love each other secretly until the day when Dodin decides to make his marriage proposal in the form of a unique pot-au-feu. The great chef Pierre Gagnaire is in the game… A treat.
In theaters November 8.
Towards a bright future : the blues of Nanni Moretti
Return to competition of the Italian filmmaker, always self-centered, who puts himself in the shoes of a director out of inspiration who is shooting a film that takes place in 1956, when the Italian Communist Party won 20% in the elections. The invasion of Soviet tanks in Budapest will pose problems of conscience for its characters, disoriented militants. As a result, melancholy tortures him, his wife leaves him and the world around him no longer turns round. Cinecittà has disappeared and the platforms only talk about numbers. What to do ? Hang yourself or dance like the whirling dervishes? A shot of the blues does not exclude humour.
In theaters, June 28.
The Goldman Trial : a great trial film
Cédric Kahn did not want to make a hagiographic film on Pierre Goldman, an extreme left-wing activist (he was the half-brother of Jean-Jacques Goldman) convicted of various robberies, but acquitted in 1975 for the murder of two pharmacists. In The Goldman Trial, Screened at the Quinzaine des cinéastes, it gives voice to all of this France of the 1970s: lawyers, police officers, French people on the right and left, Parisians, provincials… A France cut in two, difficult to reconcile. The result is a great, very great trial film that resonates in today’s France.
Theatrical release September 27.
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We don’t like…
Rosalie : what a beard !
Despite the sensitive performance of Nadia Tereszkiewicz (back in Cannes a year after The Almond Trees by Valeria Bruni Tedeschi) in the role of a woman with a beard determined to display her difference and the presence of Benoît Magimel in the role of her husband, Stéphanie Di Gusto’s film suffers from a badly put together script and flat dialogues. The style is agreed, demonstrative, too modern and we do not enter this story which takes place in the 19th century.e century. Damage.
Last summer : agreed
No doubt Catherine Breillat thinks she will cause a scandal with this story of a guilty relationship between a married woman (Léa Drucker) and her teenage son-in-law (Samuel Kircher). Missed ! Everything is conventional here. We are rather in the bourgeois drama of a woman who has a stroke of madness and then does everything to save her couple. So we follow with fun this little game of adultery punctuated by endless love scenes that look like cardio exercises. And you can imagine what a Claude Chabrol would have done with such a story that takes place in the provinces.
Vincent must die : next to the plate
It was the craziest film presentation of the Cannes Film Festival, actor Karim Leklou (discovered in the series Hippocate) jettlagué sporting a t-shirt with a photo of a dog competing at the Palme Dog and his partner Vimala Pons hilariously talking about his gym. Alas! Vincent must die, present at Critics’ Week, turns out to be messy. The French director Stéphan Castang spins the metaphor of a society eaten away by violence and mistrust. He seeks a particular tone by mixing black comedy, thriller, action film and survival. But he ends up getting lost, and us with it, in a bath of blood… and excrement.
Youth : far too long
Three hours and thirty-two minutes to tell in the form of a documentary the daily life of young Chinese employed or rather exploited in the textile workshops around Shanghai. Filmmaker Wang Bing takes his time but repeats himself in this harsh portrait of a generation sacrificed on the altar of an economic miracle. Interesting but way too long…
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