THE 70TH CANNES FILM FESTIVAL
By Antonio Llorens.
The seventy editions of Cannes, the main cinema festival in the world, motivated numerous celebrations, the most significant of which was the family photo of the guests – where there were golden palms to give and to sell – and the projection as a tribute of the until now last film by the veteran André Téchiné, “Nos années folles”, which I couldn’t see, and aroused division of opinions. To follow the official section – I missed very few -, see some brilliant titles in the special section and out of competition, to visit the section “Un certain regard”, or see in the “Critics’ Week” the only Spanish production present in such a luxurious festival – a short film by Laura Ferrés (contributor of Ineditofilms), titled “The disinherited” / “Los desheredados” – was enough effort.
“The disinherited” / “Los desheredados” (winner of the Leica Prize in the Semaine de la Critique), short film by Laura Ferrés focused on the vicissitudes of her father, owner of a rather ruinous bus business, is worth as exercise with the documentary, although it can sin a little superficial when analyzing the conflicts but not without it shows signs of excellent quality.
The jury of the official section, chaired by Pedro Almodóvar, brought together the actress and director Agnés Jaoui, filmmaker Maren Ade, composer Gabriel Yared, actor Will Smith, actresses and producers Jessica Chastain and Fan BingBing, and the filmmakers Paolo Sorrentino and Park Chan Wook, awarding the “Palme D’Or” to Ruben Ostlund for “The Square“, giving also the performance awards to Diane Kruger and Joaquin Phoenix, as well as a special prize for Nicole Kidman, remembering too the Robin Campillo’s AIDS film “120 battements par minute” for the Grand Prix, awarding the directing prize to Sofia Coppola for a insipid remake of a great Siegel and Eastwood film of 1971 -“The Beguiled”-, relatively successful with the Jury Prize -“Nelyubov” / “Lack of Love”, by Kornél Zvyagintsev -, and completely forgetting François Ozon (“The double lover / L’amant double”) and Michael Haneke (“Happy End”), probably the two most serious filmmakers / films in the contest.
Beyond the awards, I will point out that the Ozon film, clearly influenced by Hitchcock and also by Buñuel (who had a special projection of the masterpiece “Belle de jour”, with the presence of the co-writer, Jean-Claude Carrière), is of higher quality than a handful of small-time films like Noah Baumbach’s “The Meyerowitz Stories”, Lynne Ramsay’s “You were never really here”, Benny and Josh Safdie’s “Good Time”, and “The Beguiled”, by Sofia Coppola. More interesting were the opening film, out of competition, “Le fantômes d’Ismael”, by Arnaud Desplechin, “Redoubtable (Le redoutable)” by Michel Hazanavicius, this time around the Godard’s “La chinoise” and the May of the 68, with a glorious cameo of Jean-Pierre Mocky, the aforementioned “Nelyubov” and “120 battements par minute”, the Greek “The Killing of a sacred deer”, by Yorgos Lanthimos (prize for Best Script), Korean film “Geu-hu” by Hong Sagsoo, the Russian “Krotkaya” by Sergei Loznitsa, etc. I could not see the films of Todd Haynes, Bong Joon Ho (scheduled for televisión broadcast), Naomi Kawase, Fatih Akin or, out-of-competition, Roman Polanski. But I was little convinced with “Jupiter’s moon” by Kornék Mundruczó and “Rodin” by Jacques Doillon, and I still think that “Happy end” by Michael Haneke, starring Isabelle Huppert and Jean-Louis Trintignant, hides large doses of bad milk.
In the parallel “Un certain regard” section I was able to see the very convincing “Western” by Valeska Grisebach, “Lerd” by Mohammad Rasoulof (Iranian film awarded by the respective jury that presided Uma Thurman and which included Joachim Laffose), the Mexican Michel Franco’s “Las hijas de Abril”, with a great Emma Suárez, Laurent Cantet’s “L’atelier”, Santiago Miter’s “La Cordillera” and the more conventional “Posoki” by Stephan Komandarev, “The Bride of the Desert” by Cecilia Atán and Valeria Pivato, “Tesnota” by Kantemir Balagov, “Dopo the War” by Annarita Zambrano. “Jeune femme” by Léonor Serraille, which I couldn’t see, won the valuable “Caméra d’Or”.
Out of competition, in special sessions, in events, etc., the Cannes festival offers us titles that deserve our full attention, no matter that pass violent and spectacular films or small-time comedies. But enjoy of “Faces Places” / “Visages villages” by Agnés Varda and JR (a great photographer), also the octogenarian Vannessa Redgrave and his committed “Sea Sorrow”, of the personal “Carré 35″ by Éric Caravaca, “Keul-Le -Eo-Ui Ka-Me-La” / “Claire’s camera”, by Hong Sangsoo,“12 jours”, by master Raymond Depardon, or, above all,“Le vénérable W” by Barbet Schroeder, a meticulous analysis of the manipulative and violent attitude of a Buddhist monk whose crimes against the Muslims have been classified as against humanity, justify the presence in Cannes.
The “Quinzaine des Realisateurs”, with its own rules, began awarding its “Carosse d’Or”, prize to the race and the trajectory, to the German Werner Herzog, the interesting “Bad Lieutenant: Port of Call New Orleans” (2010) was projected, having this independent section a selection of titles really suggestive of feature films and short films. For example, “A ciambra” by Jonas Carpignano, an Italian film about a family / gypsy community that lives in a town of Calabria, winner of the “Label Europa Cinema” award. Or the exciting “L’amant d’un jour”, where veteran Philippe Garrel (son of Maurice and father of Louis) tackles complex relationships with his usual distanced style and Eric Caravaca as the protagonist. Less interesting and much less successful, the Italian “Cuori puri” by Roberto de Paolis, told a story of love between a girl controlled by an intransigent and Catholic fanatic mother and a young Romanian immigrant. I could also see “The Dragon’s Defense” / “La defensa del dragón” by Natalia Santa, a Colombian film of fairly marginal people, sufficiently dry and very tight in their chess incursions… The selection allowed us to find a magnificent documentary by Israeli-Palestinian filmmaker Amos Gitai, “West of the Jordan river”, essential plea for peace in a reality full of crimes and differences. Viewed apparently, the rest of the offer invite to follow more closely this parallel section presided by Eduard Waintrop, delegate general.
Traducido por: Eduardo Llorente.