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CANNES 2022

I misteri di Cannes a sette giorni dall'annuncio ufficiale

di 

- Un ingorgo di film consegnati in extremis confondono i pronostici, ma le previsioni promettono un programma eccellente

I misteri di Cannes a sette giorni dall'annuncio ufficiale
(da sinistra a destra, dall'alto in basso) I registi Ruben Östlund (© Gunnar Bangsmoen), Cristian Mungiu (© T.Leibreich), Luc e Jean-Pierre Dardenne, Joanna Hogg, Pietro Marcello, Mia Hansen-Løve (© Philippe Quaisse), Ali Abbasi, Léa Mysius (© Alice Khol) e Lukas Dhont (© Georges Biard)

Questo articolo è disponibile in inglese.

Once upon a time, a team of festival programmers found themselves not actually at a loss, but in fact receiving the films they must watch at a much more comfortable cruising speed than they are used to. When suddenly, in late March, an onslaught of films arrived, hundreds of DCPs flooding in day and night, inflating short lists, multiplying the number of pending responses and constantly changing the contours of the definitive lists of the happy selected few who will join the 75th Cannes Film Festival, the most beautiful showcase for cinema worldwide. The festival returns to the Croisette from 17 to 28 May, in its usual dates for the first time since 2019, and in a global context where the attractiveness of the 7th art really could do with its time in the spotlight. 

(L'articolo continua qui sotto - Inf. pubblicitaria)

Needless to say, a week before the press conference that will reveal the Official Selection (whose choices greatly determine, in a domino effect, those of the Critics’ Week and Directors’ Fortnight sections as well as those of other major international film festivals to follow), speculations abound. Leaked secrets, rumours and forecasts are multiplying in Paris, before the final decisions are made next weekend for foreign films and in the evening of 13 April for French films. Because it is impossible to directly enter the mind of General Delegate Thierry Frémaux (the risk of a psychic uchi mata counter attack being extremely high), and because the usual crystal ball is unusually opaque, one must almost become a medium to make any tentative guesses this year. 

The race to the Palme d’Or could bring together Triangle of Sadness [+leggi anche:
recensione
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intervista: Ruben Östlund
intervista: Ruben Östlund
scheda film
]
from Swedish director Ruben Östlund, R.M.N [+leggi anche:
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trailer
scheda film
]
from Romania’s Cristian Mungiu, Tori and Lokita [+leggi anche:
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intervista: Luc e Jean-Pierre Dardenne
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]
from Belgian brothers Luc and Jean-Pierre Dardenne, Broker from Japan’s Hirokazu Kore-eda, Decision to Leave by South Korean filmmaker Park Chan-Wook, Crimes of the Future [+leggi anche:
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from Canada’s David Cronenberg, the American films Armageddon Time by James Gray, Showing Up by Kelly Reichardt and Disappointment Blvd. by Ari Aster, Tchaikovsky’s Wife [+leggi anche:
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scheda film
]
from Russian director Kirill Serebrennikov (whose opposition to Putin’s regime is well known), and L’immensità [+leggi anche:
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scheda film
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from Italy’s Emanuele Crialese. Very likely outsiders include The Eternal Daughter from English director Joanna Hogg, Scarlet [+leggi anche:
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intervista: Pietro Marcello
scheda film
]
by Pietro Marcello (which apparently hasn’t yet been seen, however), Close [+leggi anche:
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scheda film
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from Belgium’s Lukas Dhont, Holy Spider [+leggi anche:
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scheda film
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from Danish director with Iranian origins Ali Abbasi, Love Life [+leggi anche:
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from Japan’s Koji Fukada, and maybe Pobres pibes from Argentina’s Benjamin Naishtat.

To this sketch of the potential candidates to the supreme distinction in Cannes, we must add the French representatives, a category whose identity is even more uncertain since several of them have not yet been put in front of the eyes of the festival selectors (either because they are in the final stages of post-production, or because they are betting on a strategic last-minute submission). The most buzzy titles currently are Brother and Sister [+leggi anche:
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by Arnaud Desplechin and The Five Devils by Léa Mysius, with close favourites including Forever Young [+leggi anche:
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intervista: Valeria Bruni Tedeschi
scheda film
]
by Valeria Bruni Tedeschi, Other People's Children by Rebecca Zlotowski, Sons of Ramses [+leggi anche:
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intervista: Clément Cogitore
scheda film
]
by Clément Cogitore and Diary of a Fleeting Affair [+leggi anche:
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intervista: Emmanuel Mouret
scheda film
]
by Emmanuel Mouret. The odds for Retour à Paris by Alice Winocour are falling slightly, while those for One Fine Morning [+leggi anche:
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by Mia Hansen-Løve remain in suspense because of how rare it has historically been for a filmmaker to play in Cannes Official Competition two years in a row.  

Since it appears that the Official Selection aims to renew the experiment of the Cannes Premiere programme, a given film’s possibilities for integrating one of the diverses Cannes showcases of the Palais des Festivals are therefore higher, raising the chances of films moving from one section to the other at the last minute. Among the many candidates in the starting blocks, we can see Corsage [+leggi anche:
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intervista: Marie Kreutzer
scheda film
]
from Austrian director Marie Kreutzer, Boy From Heaven [+leggi anche:
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intervista: Tarik Saleh
scheda film
]
from Swedish director of Egyptian origins Tarik Saleh, The Happiest Man in the World from Macedonian filmmaker Teona Strugar Mitevska, The Blue Caftan [+leggi anche:
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]
from Morocco’s Maryam Touzani, a new film from Russian director Alexandre Sokourov, Hit Big from Finland’s J.-P. Valkeapää but also Godland [+leggi anche:
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intervista: Hlynur Pálmason
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]
from Iceland’s Hlynur Palmasson. Also lying in wait are the French films La Grande Magie by Noémie Lvovsky, Winter Boy by Christophe Honoré, Mother and Son [+leggi anche:
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intervista: Léonor Serraille
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by Leonor Serraille, Harkis [+leggi anche:
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intervista: Philippe Faucon
scheda film
]
 by Philippe Faucon and A Woman by Jean-Paul Civeyrac, as well as Dodo [+leggi anche:
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intervista: Pános H. Koútras
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]
from Greek director Panos H. Koutras, while the world of documentaries also offers several beautiful possibilities (from The Natural History of Destruction [+leggi anche:
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scheda film
]
by Ukrainian director Sergei Loznitsa to La Très Grande Évasion from French duo Yannick Kergoat - Denis Robert) and the buzz among animated films is dominated by Blind Willow, Sleeping Woman [+leggi anche:
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scheda film
]
by Pierre Foldes and Art College from China’s Liu Jian.

El agua [+leggi anche:
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intervista: Elena López Riera
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]
from Spanish filmmaker Elena López Riera and the documentary De humani corporis fabrica [+leggi anche:
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intervista: Véréna Paravel, Lucien Cas…
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by Lucien Castaing-Taylor and Verena Paravel are almost certain guesses for the Directors’ Fortnight, around which are also gravitating other titles such as Saint Omer by Alice Diop, Don Juan [+leggi anche:
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intervista: Serge Bozon
scheda film
]
by Serge Bozon and La Bête dans la jungle from Austria’s Patric Chiha.

The word on the street is that Critics’ Week fell in love with a Portuguese film, but the fight for feature debuts and sophomore films will feed into the selection process all along the Croisette to the very end, with other candidates including Nezouh from Syrian director Soudade Kaadan, Morrison from Thailand’s Phuttiphong Aroonpheng, Pamfir [+leggi anche:
recensione
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intervista: Dmytro Sukholytkyy-Sobchuk
scheda film
]
 from Ukraine’s Dmytro Sukholytkyy-Sobchuk, 1976 from Chile’s Manuela Martelli, La Jauría [+leggi anche:
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scheda film
]
from Colombia’s Andrés Ramirez Pulido, The Woodcutter Story [+leggi anche:
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intervista: Mykko Myllylahti
scheda film
]
from Finland’s Mikko Myllylahti, Opponent from Iranian born, Danish-based director Milad Alami, The Dam [+leggi anche:
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intervista: Ali Cherri
scheda film
]
from Lebanon’s Ali Cherri, Retour à Séoul [+leggi anche:
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intervista: Davy Chou
scheda film
]
from Franco-Cambodian director Davy Chou, La Dernière reine by Damien Ounouri, Dalva [+leggi anche:
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intervista: Emmanuelle Nicot
intervista: Emmanuelle Nicot, Julie Es…
scheda film
]
 from Belgium’s Emmanuelle Nicot, French titles Summer Scars [+leggi anche:
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intervista: Simon Rieth
scheda film
]
by Simon Rieth, Chien de la casse by Jean-Baptiste Durand and L’appel du devoir by Hugo P. Thomas, as well as L’établi by Mathias Gokalp.

Regarding the out of competition titles, after the already announced Elvis by Baz Luhrmann and Top Gun: Maverick by Joseph Kosinski, French films Mascarade [+leggi anche:
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intervista: Nicolas Bedos
scheda film
]
by Nicolas Bedos and Final Cut [+leggi anche:
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intervista: Michel Hazanavicius
scheda film
]
by Michel Hazanavicius are among the buzziest predictions. A game of psychic projection that Thierry Frémaux will end on Thursday 14 April with the reveal of the Official Selection (with additions to come later), followed by Critics’ Week on Monday 18 April and Directors’ Fortnight on Tuesday 19.

(L'articolo continua qui sotto - Inf. pubblicitaria)

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