David Cronenberg, James Gray, Claire Denis, Kirill Serebrennikov are part of the filmmakers who will defend their new film at the 75th edition of the Cannois Festival.
by
Here we are there. Cannes “Reload”, live from the IGC-Normandy liner at the dock on the Champs-Elysées, with the desk Le Delegate General Thierry Fremaux and President Pierre Lescure. For the announcement of this sixty-fifth edition, which will be held from 17 to 28 May, the mood is sober, like a world of which Thierry Fremaux recalled from the outset, beyond the pangs of cinema itself, tears and worries.
Mid-full room. Goodbye concise, but felt to President Lescure, who will leave his place in Iris Knobloch at the end of this edition. Welcome to France Television, new partner and sponsor of the festival. NEW Lastly this year: No scientifically graduated ad (poster, opening film, composition of the jury …) will have preceded the holding of this press conference, no question session will have not followed it.
Obvid exhaustion, Ukrainian tragedy, heavy indecision of the French elections, so we will understand that the idea was to go to the bone, without complaining altogether with the situated situation of the seventh art, without Go back on thorny relations with platforms, without playing it fiesta, glitter and champagne. It was undoubtedly the best party to take, especially as the announcement of the competition – of a quality a priori brilliant this year – sufficed itself in itself to put balm with the cinephiles.
Eighteen titles have been selected to date (some surprises will add it traditionally), over two thousand two hundred views. If the “secret film” by David Lynch – announced by feverish networkers – is not there, the simple list of his honorable colleagues is enough to raise the mental, aesthetic and erotic pressure of movie lovers.
“Cinema of the decay”
To start with the Canadian David Cronenberg, which presents Crimes of the Future with the flamboyant poster Léa Seydoux, Kristen Stewart and Viggo Mortensen, the latter embodying a performer engaged in the ablation of his organs in a future where the Man could live detached from his body envelope. Happy man …
On the United States side, two filmmakers who delight. Kelly Reichardt, undeniably the largest American liver, who inaugurates his late entry in competition with Showing Up, new portrait of a woman, new example of a “cinema of decay” as just named Thierry Fremaux. But also the master of neo-dark James Gray, who delivers with Armageddon Time an undoubtedly autobiographical material at the same time as a sulphurous lift in the Queens of the 1980s where the promoter Fred Trump, father of a certain donald, reigned without Sharing.
You have 59.68% of this article to read. The rest is reserved for subscribers.