Refuge in the past, prevented love and metaphors around artistic creation are three main themes that have crossed the films presented on the Croisette. As if to better draw the painting of an era marked by great concern.
by and
After ten days of projections and 21 films examined from every angle, the jury of the 75th Cannes Festival, chaired by Vincent Lindon and gathered under the ark of the Grand Théâtre Lumière for the traditional closing ceremony, gave a copy Particularly muddled, more inclined to defend major causes and massive subjects than that of great films. Symptomatic, the Palme d’Or returns this year, and for the second time after The Square (2017), at the Swedish Ruben Östlund for Triangle of Sadness (without filter in French), a sardonic stuffing vomiting contemporary era. The director propels on a luxury yacht a sample of puffy and botox ultra-rich, for a cruise shaken by the storm and culminating in a carnival of excrement. After setting their account to these specimens of a stuffed neocapitalism, Östlund orchestra, as an antithesis, the mutiny of a cleaning lady, exercising on the passengers a dictatorship of the hardly more enviable proletariat. Cynicism therefore reigns on all floors and it is him, this evening, who finds himself awarded.
The sequel to the charts zigzague between variegated works, like a shared Grand Prix ex aequo between closed of Lukas Dhont and stars at noon by Claire Denis. In the first, the young 31 -year -old Belgian director films the fusional friendship of two boys, with great blows of country trips and natural impulses, before everything breaks tragically on the normative gaze of their classmates. After the revelation of Girl, distinguished by the Golden Camera in 2018, Dhont continues his examination on the social factory of the genre and the decompartmentalization of a rigid masculinity. Claire Denis, on the other hand, is transported to a Nicaragua on the verge of civil war, to portray the faltering passion of two foreigners, against the backdrop of industrial spy. Curiously out of phase, this fiction on expatriate desire never finds it to be embodied.
The female interpretation prize goes to actress Zar Amir Ebrahimi, Iranian refugee in France, for her role in the nights of Mashhad by Ali Abbassi, that of a journalist in Iran in the 2000s, quite Tuly to investigate a killer of fundamentalist prostitutes. On the male side, it is the formidable South Korean actor Song Kang-Ho, seen in particular in Parasite (2019), who is rewarded for his role of baby trafficker in the good stars, the latest film of the Japanese Hirokazu Kore-Eda , shot in Korea. In this story full of good feelings, the actor brings his touch of earthiness, extravagance, chiseled emotions. His compatriot the filmmaker Park Chan Wook received a staging award without much surprise for Decision to Leave, a thriller playing brilliantly from Hitchcock’s acquired in the form of a somewhat vain exercise.
You have 65.4% of this article to read. The continuation is reserved for subscribers.