So, what will the cinema year of 2023 look like?

Yes, there are only two short months left before 2023. I see some who are already preparing their Christmas presents and their annual top of the year. The opportunity to take advantage of this holiday to take stock of what the cinematic year of 2023 has in store for us, which seems exciting enough not to wish the end of the world right away. Judge instead.

Let’s start with the three biggest mysteries first, like “will we see them or not this year or rather in 2024?” »
Three great filmmakers, two of them controversial, being known to take their time in the post-production process.
How do you live? by Hayao Miyazaki (which would still be well advanced, according to what was said during the inauguration of Ghibli Park which takes place today).
The Way of the Wind by Terrence Malick (still the most secret of filmmakers).
Mektoub my Love: Canto Due and Canto Tre by Abdellatif Kechiche (Intermezzo in its Cannes version would be abandoned unless certain scenes were reworked for the 2nd part).

It is to highlight that Killers of the Flower Moon by Martin Scorsese was expected for this end of the year, but with the silence of Apple+, we imagine that Marty probably did not want to rush his legendary editor Thelma Schoonmaker, and rumors about a Cannes presence are beginning to circulate. If confirmed, it would be Scorsese’s first film shown at Cannes since After Hours in 1985 (he had been president of the jury in 1998).

And besides, let’s talk about Cannes.
Here are the films that we are almost sure to find there, those of the famous Cannes subscribers.

On Barren Winds (LGreen Herbs) of Nuri Bilge Ceylan, who expects May on purpose to show it.
Dead leaves by Aki Kaurismäki (yes, he’s still there).
Poor Things by Yorgos Lanthimos, with Emma Stone, Willem Dafoe and Margaret Qualley, whom he has just found for AND that he is currently running.
Asteroid City by Wes Anderson, who has already made another film in stride, The Wonderful Story of Henry Sugar, distributed by Netflix.
Limonov, The Ballad of Eddie by Kirill Serebrennikov, adapted from Emmanuel Carrère, with Ben Whishaw.
The beast by Bertrand Bonello, an ambitious science fiction melodrama with Léa Seydoux and Thomas MacKay who replaces the late Gaspard Ulliel.
The Conversion by Marco Bellocchio, which would be his farewell to the cinema, adapting a project that Spielberg had almost realized, that on the kidnapping of Edgardo Montara.
Eureka by Lisandro Alonso, his most ambitious film, a journey through time and space at the heart of Native American culture, with Viggo Mortensen, Chiara Mastroianni and Maria de Medeiros.
fire brand by Karim Ainouz, historical drama with Alicia Vikander as Catherine Parr and Jude Law as Henry VIII.
The Chimera by Alice Rohrwacher, with Josh O’Connor and Isabelle Rossellini.
Il Sol dell’avvenire by Nanni Moretti (I advise you to follow his Instagram account).
–Lo Capitano by Matteo Garrone, the odyssey of two young Senegalese on their way to Italy.
Vahaza (The Whites) by Robin Campillo, with Nadia Tereszkiewicz.
Last summer by Catherine Breillat, with Léa Drucker and Olivier Rabourdin.
Crossings by Ira Sachs, a love triangle with Adèle Exarchopoulos, Ben Whishaw and Frank Rogowski.
The Empire by Bruno Dumont (great WTF potential, with Lyna Khoudri, Anamaria Vartolomei, Camille Cottin, Fabrice Luchini and Bernard Pruvost).
Anatomy of a Fall by Justine Triet.
Jeanne du Barry of Maïween (but will Johnny Depp agree to climb the stairs now that we are all aware of their big trouble on the set?)
Kubi by Takeshi Kitano, a samurai film starring Ken Watanabe.
Club Zero by Jessica Hausner, an intriguing thriller set in an elite school, starring Mia Wasikowska.
– The Old Oak by Ken Loach (not a third Palme d’or, please!)
The Fragrant Hill by Abderrahmane Sissako.

And finally, the short film by Pedro Almodovar, the western Strange Way of Lifewith Ethan Hawke and Pedro Pascal, could make a good pre-program just before the opening film.

It will also be necessary to expect to find there (for our greatest misfortune?) the new film by Michel Franco, shot in New York and still untitled, with Jessica Chastain and Peter Sarsgaard (it is hard to imagine Frémaux refusing to climb the steps at Chastain).

If the stars align, we still hope to find there:
Barbie by Greta Gerwig, who could make the famous doll a feminist, burlesque and subversive icon.
Disappointment Blvd. by Ari Aster, an ambitious and Kafkaesque fresco of 3h30 with Joaquin Phoenix as a successful entrepreneur, the most expensive of the A24 productions.
Challengers by Luca Guadaguino, with Zendaya as a tennis coach.
The Zone of Interest by Jonathan Glazer, based on the novel by Thomas Amis, which would be declined in three different points of view (three different montages?). Sandra Huller would be part of the cast. But Glazer is more of a subscriber to the Venice Film Festival.
May/September by Todd Haynes, who finds Julianne Moore for the 5th time.
Hitman by Richard Linklater, an action comedy starring Glen Powell.
The Holdovers of Alexander Payne, who finally finds Paul Giamatti and could reconnect with the success of Sideways.
The Bikeriders by Jeff Nichols (who was a juror at Cannes this year), we hope he will be ready with this enticing evocation of a motorcycle club in the 60s, immortalized by the famous photos of Danny Lyon.

And we can easily imagine the backlash that Thierry Frémaux will take if he selects, even out of competition, The Palace by Roman Polanski and Woody Allen (still untitled) who is currently filming in Paris, with Valérie Lemercier, Lou de Laâge and Niels Schneider.

Finally, you have probably heard of these films that are sure to make the event in 2023:

Mickey7 by Bong Joon-Ho
Napoleon by Ridkey Scott
Knock at the Cabin by M.Night Shyamalan
Oppenheimer by Christopher Nolan
Dunes: part 2 by Denis Villeneuve
Indiana Jones 5 by James Mangold (we’re still waiting for the title, will it be the fountain of youth?)
Maxxine by Ti West (which should end in apotheosis the splendid trilogy organized around the muse Mia Goth).
MMission: Impossible, Dead Reckoning Part 1by Christopher McQuarrie
The Killer by David Fincher (a scene of which was shot on Place de l’Estrapade, I have witnesses)
Guardians of the Galaxy Vol. 3 by James Gunn
Spiderman: Across the Spiderverse from Sony, Marvel and Columbia.
The Exorcist by David Gordon Green (we should even find Ellen Burstyn there!)

And we can well imagine in the opening film of the Venice Film Festival the Ferrari by Michael Mann, his dream film, obviously shot in Italy.

Note that many films presented at the last Mostra will not be released in France until the first quarter of 2023, such as the magnificent Tar by Todd Field (with Cate Blanchett and Nina Hoss) and The Eternal Daughter by Joanna Hogg (with Tilda Swinton), as well as Laura Poitras’ captivating documentary on Nan Goldin, All the Beauty and the Bloodshed. We will politely forget the ridiculous The Son by Florian Zeller andThe Whale by Darren Aronofsky to better watch out for the pretty discoveries of parallel selections, such as Blue Jean by Georgia Oakley and Dirty, Difficult, Dangerous by Wissam Sharaf.

We will discover in January the highly anticipated babylon by Damien Chazelle and The Fabelmans by Steven Spielberg, even if they are technically films of 2022 which should end up well placed at the Oscars with several nominations (with undoubtedly a raid of Avatar 2 for the technical Oscars).

Regarding the major French productions of the year, we hope that The three Musketeers, the big all-star blockbuster in two parts produced by the big patriarch Jérôme Seydoux, who took the liberty of lecturing all French cinema, will be much less indigestible, formatted and programmatic than we fear. The trailer for the next Asterix by Guillaume Canet, with his parade of cameos, has already finished us off. Note also the political comedy Second Round by Albert Dupontel.

And maybe we should meet at the Berlin festival My crime by François Ozon (with Isabelle Huppert) as well as The big cart of Philippe Garrel, who brings together his children Louis, Esther and Lena.

Finally, to finish, a few films to watch, some of which are currently being filmed so more likely scheduled for the end of 2023:

Magic Mike’s Last Dance by Steven Soderbergh
Kraven the Hunter by JC Chandor (who we didn’t expect to find at Marvel)
Next Goal Wins by Taika Waititi
The Iron Claw by Sean Durkin
The Pale Blue Eye by Scott Cooper
strangers by Andrew Haigh
Lee by Ellen Kuras (biopic about Lee Miller with Kate Winslet)
Stone Mattress by Lynne Ramsay
Priscilla by Sofia Coppola
Wizards! by David Michod
Morning by Justin Kurzel

Not to mention the films that will be shot in 2023 like the remake of a Mexican film from the 50s (probably a Roberto Gavaldón) that Dario Argento will shoot in Paris at the beginning of the year with Isabelle Huppert.

Finally, we send all our good vibes to a certain Francis Ford Coppola who will be able to give life to his already legendary Megalopolis, which shoots from November to March, with Adam Driver in the lead role. It’s hard to say if it will be ready for the end of 2023, it smells more like Cannes 2024, or even the end of 2024 if post-production turns out to be as long as for a Scorsese.

And of course, apologies to all the forgotten movies in this article. Feel free to add your most anticipated films in the comments!

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So, what will the cinema year of 2023 look like?