Todos lo saben, (Everybody knows) another Iranian film, Asghar Farhadi, was also in Competition. Filmed in Spain and in Spanish,!
Laura returns from Argentina with her children for the wedding of her sister who reunites the whole family except her husband who could not come for material reasons. The unfolding of the wedding (note the drone shots of the wedding) is disturbed by the kidnapping for a ransom of Laura’s daughter. Look for the woman…
This event is revealing of what everyone in the village knows, but what silence has been about for 16 years and Laura’s departure with her husband for Argentina. Revealing long-hidden feelings within a family until money problems burst. Film about love, paternal love, filiation, money … and the gear of lies despite the passing of time …
The first minutes allow the director to indicate his intentions: enclosed space in the bell tower, gears, clock, married seen through the bars of the balcony or grids … (8)
In Girl (9), Viktor, 15, wants to become a girl and a dancer at any cost, with the support of her father. He is taken care of by a medical team for hormonal treatment before surgery. While following demanding dance classes. Although very beautiful young woman for those who look at it, it is easy neither on the physical level nor on the psychological level.
The Danish Girl had already told the love story of Gerda Wegener, a young married man, the first person to undergo an unfortunate surgery to change sex in 1930 (10).
In Laskovoe Bezrazlichie mira, (The tender indifference of the world), the death of a landowner in Kazakhstan, the widow forced her medical student daughter who had interrupted her studies to help her father, to go to his uncle who will marry to buy back the debts of the father.
She goes to the city, accompanied by her childhood lover but despite their courage, they will not manage to escape the uncle and his corrupt friends (11).
In Manbiki Kazoku (A family affair), a father and his son, after a few petty larceny, bring home a girl who has been the victim of family abuse. She enters a welcoming family, grandmother, parents and a little boy. A family that lives on small thefts and hidden revenues of the grandmother.
This film is reminiscent of Italian neorealism: a united family, warm, in a poverty faced by a minor delinquency … It will be destabilized by justice and the discovery of a heavy past (12).
Yomeddine (13): on the death of his wife, Beshay, leper healed but disfigured that his father has deposited at the leprosarium and never came to seek despite his recovery, decides to return home. With his old cart pulled by a donkey who died on the road, accompanied by a young Nubian orphan, he will undertake a long journey full of incidents … Despite everything, they arrive at the goal and find the father.
The two heroes are frightened at the choice that is offered to them: to reintegrate into a normal world they do not know, who does not know them and where they have to make a place. Or return to the unhappy cocoon where they were known and recognized. Find their forgotten administrative identity or keep the identity lived for years.
On a close theme, Lean on pete, a US film currently on the screens, tells the long march of a young man who leaves an inconsistent father and a disadvantaged environment, with a horse that he saved from the slaughterhouse and dies by the path. More optimistic, the young find a distant aunt who will give him the warmth of a home (14).
There is talk of a different youth in Weldi (15). Samir, a young Tunisian, prepares his baccalaureate but some difficulties arise, migraine, vomiting, which worries the parents. Three days before the exam, he disappears … gone to Syria.
Faced with the call for jihad, parents, society have to offer a small family life mediocre where it is only about credits, promotion, plan ass, a whole way of life whose calls to jihad denounce hypocrisy …
Finally, Samir will only show signs of happiness when he introduces himself, through Facebook, his family life, his child, to his parents. But in Syria ….
Another country, another youth, another violence in El Angel, according to a true story. A young Argentinian petty bourgeois, a thief by vocation, sinks into an increasingly serious crime with multiple murders (16).
Samouni Road reports on Israel’s « hardened lead » operation in Gaza territory during which 25 people from the Samouni family were killed.
The film, long applauded, reconstitutes remarkably this operation and its consequences through documents of the Israeli army and stories of the family of the victims. The film is illustrated with animated images and its soundtrack is terrifyingly realistic … (22).
In Zimna Wojna, a black and white film, a musician and a dance teacher form a school to resume Polish folk songs and dances. They are so successful that the authorities urge them to put their talents to the service of the Revolution, Party, Stalin … The dance teacher refuses but not Wiktor, the musician. In love with a particularly talented singer, he carries out his business. Which allows them to travel. They decide to go to the West but only Wiktor leaves for Paris. Where, again, he will choose to live the compromises. They will meet, will leave … He will eventually leave to find her in Poland but …
Passionate love in situations that make it impossible … (23).
In Leto (Summer), young people, along with Mike, have formed a musical group that is meeting with some success in Leningrad under the watchful eyes of some authorities. A new band arrives with Viktor, with a Eurasian, more talented face, which is immediately perceived by Mike, at the height of his glory. Musical competition, competition with Natacha …
Leto describes a youth fascinated by the Western world, essentially musical in the Leningrad of the 60s-80s. The groups try to build a counter culture that triggers the enthusiasm of young people. The phenomenon is similar to that experienced in the West with a few years of lag. Without homosexuality, drugs, AIDS … and with the same masculine domination, the groups are masculine and the fans especially feminine…
Not everyone can achieve fame … One commits suicide, the hero adulated, Mike, understanding the value of his competitor, puts his foot in the stirrup and continues his life, ordinary employee with a mundane family. Only Viktor …
The film gives pride to the music but also delusions, colorful images that embellish the reality and touch the musical (24).
With Gongjak, (The spy gone north), the song is not the same, the cold war aspect is current. In this South Korean espionage film, a former officer, who has resigned and converted into business, is back in action to try to take stock of the development of the nuclear industry in the North. After many adventures, the preliminaries to the meeting with the supreme leader are remarkable, he collaborates with a North Korean to try to unfreeze the situation between the 2 countries. They succeed but will have to pay the price.
News movie at the time of the thaw between North and South Korea and proposed meeting with Donald Trump (25).
Among the French films, Plaire, aimer et courir vite (26) and En guerre (27) are wrong to come after. After 120 battements par minute (28) who had the Grand Prix, last year in Cannes for the first and the second after La loi du marché (29), with the same actor, Vincent Lindon, already awarded at Cannes in 2015 by the Male Performance Award.
Other films seen:
Le livre d’image de Jean-Luc Godard, 85 mn, Compétition, Palme d’or spéciale.
Un couteau dans le cœur de Yann Gonzalez, 90 mn, Compétition.
Under the silver lake de David Mitchell, 139 mn, Compétition.
The house that Jack built de Lars Von Trier, 155 mn, Compétition.
Solo : a star wars story de Ron Howard, 135 mn, Hors Compétition.
Whitney de Kevin Mac Donald, 120 mn, Hors compétition.
Die Stropers (Les moissonneurs) de Étienne Kallos, 106 mn, Un certain regard.
Gueule d’ange de Vanessa Filho, 108 mn, Un certain regard.
In my room de Ulrich Kohlern, 119 mn, Un certain regard.
Cinq et la peau de Pierre Rissient, 95 mn, Cannes Classics.
an industry and a market
A diffuse fear hangs over the cinema and thus on the Festival itself.
In the past, cinema was the only way to create and broadcast animated images. But this monopoly was questioned first by television, to which it responded with bigger screens, color, sound quality, special effects, multiplexes, comfort … and confectionery … Omnimax remained an attraction.
Today, cinema is confronted with multiple innovations that are not only technical:
Multiple sound and image recording possibilities are now available to everyone. Frank Cousins, presenting his film The Eyes of Orson Welles, wondered what Welles could have done, freed from financiers and producers, thanks to the use of miniaturized and powerful devices. As Iranian Panahi started to do it.
The possibilities of diffusion by internet and at low costs also open to the creators who will be able to seize it. From now on, the films can even be proposed to the selection of the Festival by this means!
But the giants of the broadcast on demand (VoD) like Netflix and Amazon which combine production and diffusion outside the movie theateers with a huge concentration of means already occupy the ground.
The cinema has managed to get along with television, which has become, in France, a major source of capital invested in film production. Is it possible that it is the same with the world giants of production and diffusion?
Or is it a fight to the death?
Digitization can give a second life to old films in good conditions. Who will take control?
For the moment, virtual reality is still looking for its industrial and commercial model …
The Cannes Film Festival is held in the spring, Venice and Toronto at the end of the summer. It would be a more favorable moment for the visibility of the films before the supreme consecration of the Oscars.
Cannes is still the world’s largest film market, but Toronto is in place and Venice has entered the sector.
For the moment, the films offered in Cannes are still numerous, the selection team had to choose between the 1906 films received (against 800 in 2011) to retain a score for the films in competition and a hundred, all categories combined.
On the red carpet of beautiful in light clothes, under the carpet of heavy greenbacks …
1 – Le Film français 16/05/18
2 – Be natural : the untold story of Alice Guy-Blaché de Pamela B. Green, 120 mn, Cannes classics
3 – Et la femme créa Hollywood de Clara Kupperberg et Julia Kupperberg, 52 mn
4 – Les filles du soleil de Eva Husson, 115 mn, Compétition
5 – Sofia de Meriem BenM’Barek, 80mn, Un certain regard, Prix du scénario
6 – Se rokh (Three faces, Trois visages) de Jafar Panahi, 100 mn, Compétition, Prix du scénario ex-aequo
7 – Taxi Téhéran de Jafar Panahi, 2015, 86 mn
8 – Todos lo saben d’Asghar FARHADI, 132mn, Compétition
9 – Girl de Lukas Khont, 105 mn, Un certain regard, Caméra d’or, Prix de la Fipresci, Queer Palm, Prix d’interprétation à Un Certain Regard pour le jeune Victor Polster
10 – The Danish Girl de Tom Hooper, 2015, 119 mn
11 – Laskovoe Bezrazlichie mira, (La tendre indifférence du monde) d’Adilkhan Yerzhanov, 100 mn, Un certain regard
12 – Manbiki Kazoku (Une affaire de famille) de Kore-Eda Hirokazu, 121 mn, Compétition, Palme d’or
13 – Yomeddine de A.B. Shawky, 97mn, Compétition
14 – La route sauvage (Lean on pete) d’Andrew High, 121 mn
15 – Weldi (Mon cher enfant) de Mohamed Ben Attia, 104 mn, Quinzaine des réalisateurs
16 – El Angel (L’ange) de Luis Ortega, 120 mn, Un certain regard
17 – Climax de Gaspar Noé, 95mn, Art Cinéma Award, Quinzaine des réalisateurs
18 – O grande circo mistico (Le grand cirque mystique) de Carlos Diegues, 105 mn, Hors compétition
19 – Dogman de Matteo Garrone, 102 mn, Compétition, prix mérité d’interprétation masculine pour Marcello Fonte
20 – Blakkklansman de Spike Lee, 128 mn, Compétition, Grand prix
21 – The state against Mandela and the others de Nicolas Champeaux et Gilles Porte, 105 mn, Hors compétition
22 – Samouni road de Stefano Savona, 128 mn, Quinzaine des réalisateurs, Prix du jury de l’Oeil d’or
23 – Zimna Wojna (Cold war) de Pawel Pawlikowski, 84 mn, Compétition, Prix de la mise en scène.
24 – Leto (L’été) de Kirill Serebrennikov, 126 mn, Compétition
25 – Gongjak, (The spy gone north) de Yoon Jong-Bin, 141mn, Hors compétition
26- Plaire, aimer et courir vite de Christophe Honoré, 132 mn, Compétition
27 – En Guerre de Stéphane Brizé, 113 mn, Compétition.
28 – 120 battements par minute de Robin Campigno, 135 mn, 2017.
29 – La loi du marché de Stéphane Brizé, 93 mn , 2015
30 – Libre (To the four winds) de Michel Toesca, 100 mn, Hors compétition, Mention spéciale de lu jury de l’œil d’or
31 – La traversée de Romain Goupil, 139 mn, Séances spéciales
32 – Au feu les pompiers de Milos Foreman, 75 mn, 1968, Cinéma de la Plage
33 – Bagdad café de Percy Adlon, 104 mn, 1987, Cinéma de la Plage
34 – Battements de cœur de Henri Decoin, 97 mn, 1939, Cannes classics
35 – Daisy et son chauffeur, Bruce Beresford, 100 mn, 1989, Cannes classics
36 – A ilha dos amores de Paulo Roca, 169 mn, 1982, Cannes classics
37 – Enamorada d’Emilio Fernandez, 99 mn, 1946, Cannes classics
38 – Searching for Ingmar Bergman (À la recherche d’Ingmar Bergman), 99 mn, Cannes classics
39 – The eyes of Orson Welles de Mark Cousins, 115 mn, Cannes classics