La finestra cannense comincia ad aprirsi
di Fabien Lemercier
- Un punto sulle voci più insistenti a una settimana dall'annuncio della Selezione Ufficiale del 72° Festival di Cannes
Questo articolo è disponibile in inglese.
Who will be clambering over the ropes to enter the competition of the 72nd Cannes Film Festival (14-25 May 2019), besides The Dead Don’t Die [+leggi anche:
scheda film] by US director Jim Jarmusch, whose presence as the opening movie was officially announced yesterday? Will this year see a crunch match between several filmmakers who already have at least one Palme d’Or in their possession, a clutch of hopefuls who have already set their sights on the most prestigious trophy in the global film industry, and a batch of ambitious newcomers to this dizzying level? Exactly one week away from the unveiling of the Official Selection by Thierry Frémaux on Thursday 18 April, the rumours are starting to fly all over the shop. They are occasionally contradictory, but certain trends have begun emerging. Nevertheless, there are some predictions that we should take stock of with a pinch of salt, as so far, only half of the titles in competition will receive an official invite, and many movies may still be awaiting the choices of the Official Selection in order to potentially position themselves as entries in the parallel sections on the Croisette, or even in favour of other major festivals set to unspool later in the year.
Four flicks helmed by filmmakers who have previously been awarded at Cannes may well make it into the competition. Young Ahmed by Belgium’s Luc and Jean-Pierre Dardenne and Sorry We Missed You by the UK’s Ken Loach might enable their respective directors to become the first ever to take home three Palme d’Or gongs in the history of the festival. That is, unless US filmmaker Quentin Tarantino, with Once Upon a Time… in Hollywood, and his fellow countryman Terrence Malick, with A Hidden Life, join them in the private club of the nine directors previously doubly crowned with the top prize at Cannes.
A few Cannes sure-fire hits are also being talked about in the best-informed betting circles, with Pain & Glory [+leggi anche:
scheda film] by Spaniard Pedro Almodovar, Matthias & Maxime by Canada’s Xavier Dolan, Saturday Fiction by China’s Lou Ye (provided the censorship authorities in his country give him the green light) and Parasite by South Korea’s Bong Joon-ho. These may well be joined by Oh Mercy! by France’s Arnaud Desplechin, The Traitor [+leggi anche:
scheda film] by Italy’s Marco Bellocchio, It Must Be Heaven by Palestine’s Elia Suleiman (see the article) and a film still without a confirmed title by Filipino helmer Brillante Mendoza, for good measure.
Among the possible fresh faces to be featured in the Cannes competition are France’s Céline Sciamma with Portrait of a Lady on Fire, her fellow countrywoman Justine Triet with Sibyl, Austria’s Jessica Hausner with her English-language feature Little Joe, young Russian prodigy Kantemir Balagov with The Beanpole, and even Romania’s Corneliu Porumboiu with The Whistlers and the USA’s Ira Sachs with Frankie. A huge buzz is also currently being generated around Atlantique, the feature debut by Mati Diop.
Among the outsiders, we could cite such titles as Echo by Iceland’s Runar Runarsson, Martin Eden by Italy’s Pietro Marcello, not to mention Bacurau by Brazilian duo Kleber Mendonça Filho and Juliano Dornelles, plus As Long as the War Lasts by Spaniard Alejandro Amenábar. Another movie tipped for inclusion, Ema by Chile’s Pablo Larrain, may eventually end up not being able to take part owing to a very recent purchase by Netflix (although this information is not 100% verifiable – and is incidentally being denied by certain sources – given the level of confidentiality the platform demands of its partners), and the French film The Truth by Japan’s Hirokazu Kore-eda will allegedly not be ready. However, the biggest mystery surrounds how far Malmkrog by Romania’s Cristi Puiu has progressed through the post-production stage.
Other hopefuls for a spot in the Official Selection apparently still include La Llorona by Guatemala’s Jayro Bustamente, Un monde plus grand by France’s Fabienne Berthaud, An Easy Girl by her fellow countrywoman Rebecca Zlotowski (see the article), Our Lady of the Nile by Afghanistan’s Atiq Rahimi, Eden by Hungary’s Agnes Kocsis (see the article), Technoboss by Portugal’s João Nicolau and Reborn by Israel’s Yaron Shani. Neither should we underestimate the chances of the documentary La Cordillière des songes by Chile’s Patricio Guzman, Gloria Mundi by France’s Robert Guédiguian (see the article) and the feature debut Les Misérables by his fellow countryman Ladj Ly.
Also still up in the air with a possible final destination of Un Certain Regard are Port Authority by the USA’s Danielle Lessovitz, Il sindaco del rione Sanità by Italy’s Mario Martone, Against All Enemies by Australia’s Benedict Andrews, Un fils by Tunisia’s Mehdi M Barsaoui and Papicha by Algeria’s Mounia Meddour, while the batch of out-of-competition titles is being fed by the rumours hovering around Rocketman [+leggi anche:
scheda film] by the UK’s Dexter Fletcher, Fair and Balanced by the USA’s Jay Roach, The Personal History of David Copperfield by Scotland’s Armando Iannucci (see the news), Hors Normes by French duo Olivier Nakache and Éric Toledano (see the article), and The Best Years of a Life [+leggi anche:
scheda film] by their fellow countryman Claude Lelouch. Also worth pointing out in the mob of contenders still in the running for the Official Selection are The Invisible Life of Euridice Gusmao by Brazil’s Karim Aïnouz, La Femme de mon frère by Canada’s Monia Chokri, and the French efforts Fête de famille by Cédric Kahn (see the article), Cuties by Maïmouna Doucouré (see the article) and Camille by Boris Lojkine (see the article).
As for the Directors’ Fortnight, besides opening duties, which have already been entrusted to Deerskin by Quentin Dupieux (see the article), bandied about time and time again are the names of titles such as Alice and the Mayor by France’s Nicolas Pariser, Joan of Arc by his acclaimed fellow countryman Bruno Dumont and Canción sin nombre by Peru’s Melina León. However, the list of hopefuls still awaiting a definitive response could apparently be even longer and is so dependent on the competition on the Croisette and domino theory that it is difficult to safely say any more about it with any degree of certainty. A few surprises may not be entirely out of the question either, with new talents such as Under the Concrete by Lebanon’s Roy Arida.
Meanwhile, the Critics’ Week may welcome films such as The Unknown Saint by Morocco’s Alaa Eddine Aljem and I Lost My Body [+leggi anche:
scheda film] by France’s Jérémy Clapin, which would therefore be representing animated cinema on the Croisette, a genre that is also pinning its hopes on The Bears’ Famous Invasion of Sicily by Italy’s Lorenzo Mattotti (see the news).
Now all that’s left to do is "place your bets" before the verdict arrives on 18 April during the Paris-based press conference that will see Thierry Frémaux unveil the identities of the chosen few in the Official Selection and the list of contenders for the 2019 Palme d’Or, which will be handed out by a jury chaired by Mexican director Alejandro González Iñárritu (see the news).
(Tradotto dal francese)
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