The mysteries of Cannes at D-7

– A large traffic jam of films delivered in extremis clouds the crystal ball of the last straight line of the Cannes selections, but the medium projections promise a superb poster

(from left to right, top to bottom) The directors Ruben Östlund (© Gunnar Bangsmoen), Cristian Mungiu (© T.Leibreich), Luc and Jean-Pierre Dardenne, Joanna Hogg, Pietro Marcello, Mia Hansen-Løve (© Philippe Quaisse), Ali Abbasi, Léa Mysius (© Alice Khol) and Lukas Dhont (© Georges Biard)

Once upon a time there was a team of selectors who found themselves, not completely idle of course, but receiving the films to be viewed at a surprisingly peaceful cruising pace compared to the usual. When suddenly, at the end of March, there was an avalanche, hundreds of DCPs pouring in, jostling the days and nights, inflating the short lists, multiplying the number of pending responses and incessantly reshaping the contours of the definitive lists of the lucky ones who will join the 75and Cannes film festivalthe most beautiful showcase of world cinema (which will return to the Croisette from May 17 to 28, for the first time since 2019 on its usual dates, and in a global context of attractiveness of the 7and art in great need of a big and beautiful spotlight).

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Suffice to say that just one week before the Official Selection press conference (whose choices largely determine, by domino effect, those of Critics’ Week, the Directors’ Fortnight and subsequent major international festivals) , the nebula is particularly dense, with indiscretions, rumors and forecasts merrily colliding in Paris, with a final decantation to come next weekend for foreign films and on the evening of April 13 for French films. As it is impossible to penetrate directly into the head of the delegate general Thierry Fremaux (the risk of counter in mental uchi-mata being very high) and that the usual crystal ball is therefore relatively opaque, it is almost at the medium stage that it is necessary to pass this year.

The race for the Palme d’Or could bring together Triangle of Sadness from Swedish Ruben Ostlund, NMR from Romanian Christian Mungiu, Tori and Lokita Belgians Luc and Jean-Pierre Dardenne, broker Japanese Hirokazu Kore-eda, Decision to Leave South Korean Park Chan-Wook, Crimes of the Future Canadian David CronenbergAmerican movies Armageddon Time of James Gray, Show-Up of Kelly Reichardt and Disappointment Blvd. of Ari Aster, Tchaikovsky’s Wife from Russian Kirill Serebrennikov (whose opposition to Putin’s regime is well established) and The immensity from Italian Emanuele Crialese. In very serious outsiders point The Eternal Daughter of the English Joanna Hogg, take off of Pietro Marcello (which however has not yet been viewed), Close Belgian Lukas Dhont, holy spider Danish of Iranian origin Ali Abbasi, love-life Japanese Koji Fukadaeven Pobres pibes from Argentina Benjamin Naishtat.

To this sketch of the table of contenders for the supreme distinction in Cannes, we must add the French representatives, a contingent whose identity is even more uncertain, several of them not having yet been delivered in the eyes of the selectors (for reasons for finalizing the post-production or by strategic bet of the last minute proposal). Currently Emerging Buzz Favorites Brother and sister ofArnaud Desplechin and The Five Devils of Lea Mysiusthe field of the best placed pursuers including The Almond Trees of Valeria Bruni Tedeschi, Other people’s children of Rebecca Zlotowski (announced in Venice, but who knows, we have already seen some amazing reversals in the past…), The Golden Drop of Clement Cogitore and Chronicle of a temporary liaison ofEmmanuel Mouret. The rating of Back to Paris ofAlice Winocourt fluctuates slightly downward, while that of A nice morning of Mia Hansen-Love remains suspended in doubt linked to the rarity of a participation two years in a row in the history of the Cannes competition.

As it would seem that the Official Selection intends to renew the experience of the Cannes Première programme, the possibilities of integrating one of the various Cannes showcases of the Palais des Festivals are therefore widened, increasing at the margin the possibilities of communicating vessels at the last minute of to each other. Among the many candidates in the starting blocks, we can mention Bodice from the Austrian Marie Kreutzer, Boy From Heaven from Swede of Egyptian origin Tarik Saleh, The Happiest Man in the World of the Macedonian Teona Strugar Mitevska, The blue of the caftan of the Moroccan Maryam Touzania new opus signed by the Russian Alexander Sokurov, Hit Big finnish J.-P. Valkeapää or Godland from Icelandic Hlynur Palmasson. Also point in ambush the French films The Great Magic of Noemie Lvovsky, The high school student of Christophe Honore, A little brother of Leonor Serraille, The Harkis of Philippe Faucon and A woman of our time of Jean-Paul Civeyracas well as Dodo Greek Panos H. Koutraswhile the documentary department offers some great possibilities (of The Natural History of Destruction from Ukrainian Sergei Loznitsa to The Very Great Escape from the French duo Yannick KergoatDennis Robert) and the buzz in the animation department is dominated by Blind willows, sleeping women of Pierre Foldes and Art College Chinese Liu Jian.

El agua of the Spanish Elena Lopez Riera and the documentary De humani corporis fabrica of Lucien Castaing-Taylor and Verena Paravel are announced promised to the Quinzaine des Réalisateurs, which also sees gravitating around it titles like Saint-Omer ofAlice Diop, Don Juan of Serge Bozon or The Beast in the Jungle from the Austrian Patrick Chiha.

La Semaine de la Critique would have fallen in love with a Portuguese film in particular, but the battle for the first and second features will fuel the selection process from one end of the Croisette to the other with between other candidates Nezuh of the Syrian Kaadan Soudade, Morrison Thai Phuttiphong Aroonpheng, Pamfir from Ukrainian Dmytro Sukholytkyy-Sobchuk, 1976 of the Chilean Manuela Martelli, The Juria of Colombian Andres Ramirez Pulido, The Woodcutter Story finnish Mikko Myllylahti, Opponent of Iranian living in Denmark Milad Alami, The dam Lebanese Ali CherriWithout return of the Franco-Cambodian Davy Chou, The Last Queen of Damien Ounouri, Love according to Dalva of the Belgian Emmanuelle Nicotthe French titles Our ceremonies of Simon Rieth, Dog of the breakage of Jean-Baptiste Durand and The call of duty of Hugo P.Thomaseven the workbench of Mathias Gokalp.

Finally to the out-of-competition attractions department for which have already been officially announced Elvis of Baz Luhrmann and Top Gun: Maverick of Joseph Kosinskythe French titles Masquerade of Nicolas Bedos and Z (like Z) [+lire aussi :
interview : Michel Hazanavicius
fiche film
of Michel Hazanavicius have the wind in their sails on the side of the most buzzing predictions. A game of mediumistic projections (listening to the wind) that Thierry Frémaux will come to close on Thursday April 14 by sealing in marble from his Official Selection (with additions to be planned later) the Tables de la loi 2022 de la Croisette, la Semaine de la Critique will follow on Monday 18 April and the Directors’ Fortnight on Tuesday 19.

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The mysteries of Cannes at D-7