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CANNES 2021

Cannes si prepara a srotolare il suo tappeto rosso

di 

- A una settimana dalla rivelazione della Selezione ufficiale del 74° Festival di Cannes, i pronostici sui probabili e possibili contendenti per un posto sulla Croisette

Cannes si prepara a srotolare il suo tappeto rosso
I registi Nanni Moretti, Apichatpong Weerasethakul, Joachim Trier, Paul Verhoeven, Mia Hansen-Løve, Leos Carax, Joanna Hogg, Nadav Lapid e Claire Denis

Questo articolo è disponibile in inglese.

Amidst a generalised feeling of strength at having made it through the pandemic, the Cannes Film Festival is getting ready to fly a new summertime flag, with the revelation of the Official Selection of its 74th edition (running 6 – 17 July 2021) set to be unveiled in Paris in exactly one week from now. Vaccine passports, tests, masks and sanitization of auditoriums will definitely feature heavily on the Croisette – such logistical constraints are fast becoming commonplace around the world – but France is edging towards the green light in terms of virus safety and, as a result, Cannes and its followers will get to celebrate (albeit carefully) their long-awaited reunion with the best of international arthouse cinema.

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Owing to the various lockdowns and lengthy cinema closures experienced, aficionados of the 7th art have had ample time to hone their predictions on the composition of this year’s Cannes showcase, but General Delegate Thierry Frémaux has carried on accumulating as many offerings as possible for this year’s edition, which we hope will result in a vintage crop from an artistic point of view. By delaying a great many invitations, the Cannes selector has effectively reshuffled the cards - notably with respect to the (many) French films submitted - and a last-minute game of dominos is expected to take place, which will see Cannes’ parallel sections trying to recuperate filmmakers who are hesitating over the Official Selection’s propositions, alongside all the other festivals (Locarno, Karlovy Vary, Venice, Toronto, San Sebastián) who will also be on standby, ready and waiting to pounce. But before Cannes unveils its official 2021 programme, let’s try to get a handle on its broader lines.

Films already confirmed within the official competition are Annette [+leggi anche:
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by France’s Leos Carax (which will open the festival – read our news), Benedetta [+leggi anche:
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by Dutch director Paul Verhoeven and The French Dispatch [+leggi anche:
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by US filmmaker Wes Anderson. Movies likely to be selected for the spotlight include Tre piani [+leggi anche:
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by Italy’s Nanni Moretti, The Worst Person in the World [+leggi anche:
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intervista: Joachim Trier
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by Norway’s Joachim Trier, Petrov's Flu [+leggi anche:
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by Russian filmmaker Kirill Serebrennikov, Baglilik Hasan by Turkey’s Semih Kaplanoglu, Ahed’s Knee [+leggi anche:
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intervista: Nadav Lapid
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by Israeli director Nadav Lapid, A Hero [+leggi anche:
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intervista: Asghar Farhadi
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by Iran’s Asghar Farhadi, Memoria [+leggi anche:
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by Thailand’s Apichatpong Weerasethakul, Decision to Leave by South Korean filmmaker Park Chan-Wook (despite film delivery timings which are tipped to be incredibly tight) and Drive My Car by Japan’s Ryusuke Hamaguchi (whose nigh-on three-hour duration might prove somewhat problematic for the programming team, who must find time for lengthy cinema cleaning processes in between screenings), without forgetting Lingui [+leggi anche:
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intervista: Mahamat-Saleh Haroun, Acho…
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by Chadian director Mahamat Saleh Haroun, Flag Day by US actor-director Sean Penn (seeking redemption from Cannes following his previous, painful experience at the event).

Eye-catching outsiders include The Eternal Daughter by English director Joanna Hogg (news), The Restless [+leggi anche:
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intervista: Joachim Lafosse
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by Belgium’s Joachim Lafosse and Mona Lisa and The Blood Moon by US filmmaker Ana Lily Amirpour. Meanwhile, the notable absence of a Latin American candidate might open the door to Driftwood by Mexico’s Michel Franco.

The lucky few French films which have been selected to battle it out for the Palme d’Or are usually confirmed the evening before the selection is announced, but the latest indicators point towards Paris, 13th District [+leggi anche:
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by Jacques Audiard, Bergman Island [+leggi anche:
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intervista: Mia Hansen-Løve
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by Mia Hansen-Løve and Peaceful [+leggi anche:
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 by Emmanuelle Bercot. Reportedly hanging in the balance are Another World [+leggi anche:
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intervista: Stéphane Brizé
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by Stéphane Brizé, Titane [+leggi anche:
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intervista: Julia Ducournau, Vincent L…
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by Julia Ducournau (which is said to be brilliant, but trashy) and Fire by Claire Denis (news).

On track for inclusion within the Un Certain Regard line-up are Undercover [+leggi anche:
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intervista: Thierry de Peretti
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by French director Thierry de Peretti, A Chiara [+leggi anche:
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intervista: Jonas Carpignano
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by Italy’s Jonas Carpignano, Huda’s Salon [+leggi anche:
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by Palestinian filmmaker Hany Abu-Assad, Lamb [+leggi anche:
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intervista: Valdimar Jóhannsson
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by Iceland’s Valdimar Jóhannsson, Clara Sola [+leggi anche:
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intervista: Nathalie Álvarez Mesén
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by Swedish-Costa Rican director Nathalie Álvarez Mesén, Ali & Ava [+leggi anche:
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by English director Clio Barnard, Compartment No. 6 by Finland’s Juho Kuosmanen (news), a Polish film (Leave No Traces [+leggi anche:
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intervista: Jan P. Matuszyński
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by Jan P Matuszyński or Fools by Tomasz Wasilewski?), The Great Freedom [+leggi anche:
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intervista: Sebastian Meise
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by Austrian director Sebastian Meise, animated film The Crossing [+leggi anche:
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by French filmmaker Florence Miailhe, Nora [+leggi anche:
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intervista: Hafsia Herzi
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by her compatriot Hafsia Herzi, Feathers [+leggi anche:
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 by Egypt’s Omar El Zohairy, potentially La Civil [+leggi anche:
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intervista: Teodora Ana Mihai
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by Romania-Belgium’s Teodora Ana Mihai, and even Earwig [+leggi anche:
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intervista: Lucile Hadzihalilovic
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by Lucile Hadzihalilovic.

It’s difficult, at this stage, to predict where the animated film Where is Anne Frank [+leggi anche:
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intervista: Ari Folman
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 by Israeli director Ari Folman and the three French films Deception [+leggi anche:
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intervista: Arnaud Desplechin
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 by Arnaud Desplechin, Serre-moi fort [+leggi anche:
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by Mathieu Amalric and Come, I Will Take You There (Viens, je t’emmène) by Alain Guiraudie (news) will end up. But if the competition does end up eluding them, they’ll be spoiled for choice in terms of other outlets located in Cannes or elsewhere.

Similarly, given the tricky situation with streaming platforms at present (Cannes competitors must enjoy a cinema release in France, setting in motion a binding and time-sequenced media chronology which remains relatively out of step with streaming giants’ SVOD global release strategies) and pending any unlikely last minute twists, The Power of the Dog by New Zealand’s Jane Campion, Blonde by Australia’s Andrew Dominik (both coming courtesy of Netflix banner) and The Tragedy of Macbeth by US director Joel Coen (bought by Apple TV) won’t feature in competition either. That said, it is highly likely that one of the first two will be screened out of competition, as a goodwill gesture by Netflix who are currently at the most advanced stage of negotiations regarding their inclusion within the country’s legal framework as funders of the French film industry.

Pending the revelation of the mysterious "global blockbuster" promised by Thierry Frémaux (which has given rise to the wildest of rumours, so let’s not add to them), Stillwater by US filmmaker Tom McCarthy and OSS 117: From Africa With Love [+leggi anche:
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by France’s Nicolas Bedos are also reportedly set for presentation out of competition, alongside Au bord du monde by Argentina’s Gaspar Noé (a film shot and edited at lightning speed).

Other works potentially in on the act, either via the Un Certain Regard line-up or the Directors’ Fortnight programme, are The Tsugua Diaries [+leggi anche:
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intervista: Maureen Fazendeiro e Migue…
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by Portuguese directors Miguel Gomes and Maureen Fazendeiro, 10,000 Nights in the Jungle [+leggi anche:
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intervista: Arthur Harari
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by France’s Arthur Harari, Mi iubita, mon amour [+leggi anche:
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by his compatriot Noémie Merlant, The Innocents [+leggi anche:
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intervista: Eskil Vogt
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by Norwegian filmmaker Eskil Vogt, Reflection [+leggi anche:
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intervista: Valentyn Vasyanovych
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by Ukranian director Valentyn Vasyanovych, Women Do Cry [+leggi anche:
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intervista: Mina Mileva, Vesela Kazakova
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by Bulgaria’s Mina Mileva and Vesela Kazakova, Baby-sitter by Canadian director Monia Chokri, Playground [+leggi anche:
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intervista: Laura Wandel
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 by Belgium’s Laura Wandel and Moneyboys [+leggi anche:
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intervista: C.B. Yi
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by Chinese filmmaker C.B. Yi.

In terms of the Directors’ Fortnight, the most insistent voices are citing Incredible But True (Incroyable mais vrai) by French director Quentin Dupieux (news), Between Two Worlds [+leggi anche:
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intervista: Emmanuel Carrère
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by his compatriot Emmanuel Carrère, Casablanca Beats [+leggi anche:
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by French-Moroccan filmmaker Nabil Ayouch, The Sea Ahead [+leggi anche:
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 by the Lebanon’s Ely Dagher, English-language title Nobody Has to Know [+leggi anche:
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intervista: Bouli Lanners
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by Belgium’s Bouli Lanners and Tim Mielants, the documentary in Italian Futura [+leggi anche:
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by Alice Rohwacher, Pietro Marcello and Francesco Munzi, The Hill Where Lionesses Roar [+leggi anche:
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intervista: Luana Bajrami
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by the French director of Kosovar descent Luàna Bajrami, Murina by Croatia’s Antoneta Kusijanović, Speak No Evil by Denmark’s Christian Tafdrup, Medusa by Brazil’s Anita Rocha da Silveira, the Japanese animated film Belle by Mamoru Hosoda and Red Rocket by US director Sean Baker.

Standing tall among the titles best placed to grace Critics’ Week are Bruno Reidal [+leggi anche:
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intervista: Vincent Le Port
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by France’s Vincent Le Port, Libertad [+leggi anche:
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intervista: Clara Roquet
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by Spanish filmmaker Clara Roquet, Small Body [+leggi anche:
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intervista: Laura Samani
scheda film
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 by Italy’s Laura Samani, Robuste by French director Clémence Meyer, Softie [+leggi anche:
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intervista: Samuel Theis
scheda film
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 by her compatriot Samuel Theis, The Gravedigger's Wife [+leggi anche:
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 by Somalia’s Khadar Ayderus Ahmed, A Story of Love and Desire by Tunisia’s Leyla Bouzid (news) and Amparo [+leggi anche:
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by Colombia’s Simón Mesa Soto.

Worth a mention among the first feature films whose destinations are not yet clear is Anaïs in Love [+leggi anche:
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intervista: Charline Bourgeois-Tacquet
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by Charline Bourgeois-Tacquet, Rien à foutre by France’s Emmanuel Marre (news), the majority Swiss production Olga [+leggi anche:
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intervista: Elie Grappe
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by Elie Grappe, Unclenching the Fists [+leggi anche:
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by Russia’s Kira Kovalenko, and the second feature film by Jean-Christophe Meurisse Bloody Oranges [+leggi anche:
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intervista: Jean-Christophe Meurisse
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.

"No more bets!" This roulette wheel of films is now spinning in the hands of the selectors, who are putting together a 2021 Cannes edition which looks set to be memorable, whatever the outcome. The final line-ups will be announced on 3 June for the Official Selection, on 7 June for Critics’ Week and for the ACID line-up, and on 8 June for the Directors’ Fortnight.

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