17:36 clock
Three years have passed since the festival director Thierry Fremaux confident suddenly stuck in an unfamiliar defensive. Just before the start of Cannes protested loudly against it 50 directors that in 21 films is to be found not a single contribution of women-making competition. The charge that women showed in Cannes “only her breasts, men their films,” Fremaux countered that time quite robust. He never would therefore invite only a lousy movie, because he had been shot by a woman
Either turn women since then, miraculously, better films, or in the festival a delicate lace rethinking has begun. 2013 adorned Valeria Bruni Tedeschi – as a director! -.. Competition last year, with Italian Alice Rohrwacher and Naomi Kawase from Japan even two
Now 68. Born there is a festival historical revolution were Proudly announced Fremaux, opens up for the first time, with Emmanuelle Bercot, a director of the Hustle and bustle of Cannes.
With this choice also seems to do a thematic paradigm shift connected. Had starting in 2014 still plentifully is with the glamor biopic “Grace of Monaco,” said Nicole Kidman gave thread feminine splendor bad reviews, this time it is socially and politically hard to the point. Bercots “La tête haute” with Catherine Deneuve, Rod Paradot and Sara Forestier tells of a young offender to the improvement endeavor a juvenile court judge and teacher alike. Unusual material for the opening gala, will also Fremaux, but the film was with his “universal theme ideal for gathering in Cannes world audience.”
On Thursday now the almost complete program for the days of 13 to announced May 24 – and the former rate Fremaux surprised critics with another twist. Exactly two of the lush four French Competition Entries submitted by women: “Marguerite et Julien” by Valérie Donzelli (with Anaïs Demoustier and Jérôme Elkaïm) and “Mon Roi” by Maiwenn (with Emmanuelle Bercot and Vincent Cassel) – both films tell passionate love and family histories. Womankind compete Jacques Audiard and Stephane Brize with social and political fabrics for the Golden Palm. Audiard describes in “Dheepan” the collision of a Tamil civil war refugee with violence in the suburbs, Brizé makes in “La loi du marché” Vincent Lindon for security staff that will spy on their colleagues in the supermarket. What the numerical ratio would be fulfilled, but then the stereotype of female and male subjects.
Does not count one by sex, but, old-fashioned, by nationality, the Italians in Cannes are very present. Nanni Moretti shows “Mia madre”, and Matteo Garrone told the literary text by Giambattista Basile, a shrill tale starring Salma Hayek and John C. Reilly in the lead roles. Paolo Sorrentino (“La grande bellezza”) results in “Youth” in a Voralpenhotel Michael Caine and Harvey Keitel as grown old artist-celebrities together to throw their own view of youth and transience.
Rather globalized than Italian it goes to here; Yorgos Lanthimos also the Greek (“Alpine”) assembled an international cast: “The Lobster” with Colin Farrell and Rachel Weisz into a sci-fi world where singles that just will not find a partner, in an animal of their choice must transform. Also, the Norwegian Joachim Trier leaves for “Louder Than Bombs”, starring Isabelle Huppert and Jesse Eisenberg, in his third film for the first time his home. The American Gus Van Sant does Matthew McConaughey and Ken Watanabe wander in “Sea of Trees” by a Japanese “suicide forest” and Todd Haynes’ road movie “Carol” leads Cate Blanchett and Rooney Mara through the wintry America in the early fifties.
From Asia Hou Hsiao-Hsien (Taiwan), Jia Zhang-ke (China) and Hirokazu Kore-eda (Japan) here. The Australian Justin Kurzel presents his vision of “Macbeth” with Marion Cotillard and Michael Fassbender in the lead roles. The French-Canadian Denis Villeneuve sent in “Sicario” Emily Blunt as a police officer in the Mexican drug cartel, and the Hungarian Laszlo Nemes lands his debut “Son of Saul” in the same competition. And Germany? Whether a director or director: None, as so often in Cannes
.
No comments:
Post a Comment