One week after the Official Selection is revealed, the mysteries of Cannes thicken

– A congestion of films delivered in extremis further clouds the crystal ball of Cannes selections, but psychic predictions promise excellent programming

(left to right, top to bottom) Directors Ruben Östlund (© Gunnar Bangsmoen), Cristian Mungiu (© T.Leibreich), Luc and Jean-Pierre Dardenne, Joanna Hogg, Pietro Marcello, Mia Hansen-Løve (© Philippe Quaisse ), Ali Abbasi, Léa Mysius (© Alice Khol) and Lukas Dhont (© Georges Biard)

Once upon a time, a team of festival programmers didn’t really find themselves lost, but instead received the films they needed to see at a much more comfortable cruising speed than they were used to. When suddenly, at the end of March, an avalanche of films arrived, hundreds of DCPs flooded day and night, inflated the shortlists, multiplied the number of pending answers and constantly changed the contours of the definitive lists of the happy selected ones to join at 75 cannes film festival, the most beautiful cinema showcase in the world. The festival returns to the Croisette from May 17 to 28, on its usual dates for the first time since 2019, and in a global context where the appeal of the 7th art could not miss its moment of prominence.

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It goes without saying that, one week before the press conference that will reveal the Official Selection (whose elections largely condition, in effect dominoes, those of the Critics’ Week and Directors’ Fortnight sections, as well as the of other major international film festivals to follow), speculation abounds. Leaked secrets, rumors and forecasts multiply in Paris, before the final decisions are made next weekend for foreign films and the night of April 13 for French films. Because it is impossible to enter directly into the mind of the General Delegate Thierry Fremaux (The risk of a psychic uchi mata counterattack is extremely high), and because the usual crystal ball is unusually opaque, one must almost become a means of making tentative guesses this year.

The race for the Palme d’Or could unite sadness triangle from the swedish director Ruben Ostlund, NMR from Romania Christian Munguiu, tori and lokita of the Belgian brothers Luc and Jean-Pierre Dardenne, Runner from Japan Hirokazu Kore-eda, decision to leave by the South Korean filmmaker chan-wook park, crimes of the future from Canada David Cronenbergamerican movies Armageddon time by james gray, appearing by Kelly Reichardt and Disappointment Blvd. by Ari Aster, Tchaikovsky’s wife from the russian director Kirill Srebrennikov (whose opposition to the Putin regime is well known), and the immensity from Italy Emanuele Crialese. Outsiders are very likely to include the eternal daughter from the english director joanna hog, take off by Pietro Marcelo (which apparently hasn’t been seen yet, though), Close from Belgium lukas dhont, holy spider of the Danish director of Iranian origin ali abbassi, Love life from Japan kōji fukadaand maybe poor kids from Argentina benjamin naishtat.

To this outline of the possible candidates for the supreme distinction at Cannes, we must add the French representatives, a category whose identity is even more uncertain since several of them have not yet been put before the eyes of the festival’s selectors (either because they are in the final stages of post-production, or because they opt for a last-minute strategic presentation). The most commented titles at the moment are Siblings by Arnaud Desplechin and the five devils by read missionwith close favorites including the almond trees by Valeria Bruni Tedeschi, other people’s children by rebeca zlotowski (announced in Venice, but who knows, we have already seen surprising changes in the past…), the drop of gold by clement cogitator, Chronicle of a temporary link by Emmanuel Mouret and White clothes by robin campillo (who has quickly returned in the mist of predictions). the odds of back to paris by Alicia Winocour are falling slightly, while those of a beautiful morning by Mia Hansen-Løve remain on hold due to how rare it has historically been for a filmmaker to enter the Cannes Official Competition two years in a row.

Since it seems that the Official Selection is aimed at renewing the experience of the Cannes Premiere program, the chances of a given film to integrate one of the various Cannes exhibitions of the Palais des Festivals are therefore greater, increasing the chances that movies move from one section to the other. another at the last moment. Among the many candidates on the starting grid, we can see Body from the Austrian director Maria Kreutzer, sky boy of the Swedish director of Egyptian origin Tarik Saleh, The happiest man in the world by the Macedonian filmmaker Teona Strugar Mitevska, The blue of the caftan from Morocco Mary Touzania new film by the Russian director Alexander Sokourov, big hit from finland J.-P. white head but also god land from Iceland maple palmasson. Also lurking are French films the great magic by Noemie Lvovsky, the high school student by christophe honore, a little brother by Eleanor Serraille, the harkis by Philip Faucon and A woman of our time by Jean-Paul Civeyracas well as Geezer from the greek director Panos H. Koutraswhile the documentary world also offers beautiful possibilities (from The natural history of destruction from the ukrainian director Sergei Loznitsa for The big escape of the french duo Yannick KergoatDenis Robert) and the buzz among animated films is dominated by Blind willows, sleeping women by pierre foldes and College of Art from China liujian.

Water of the Spanish filmmaker Elena Lopez Rivera and the documentary The close-up of the human body. by Lucien Castaing-Taylor and Verena Paravelo are almost certain bets for the Directors’ Fortnight, around which other titles like Saint Omer by alice diop, Don Juan by serge bozon and The beast in the jungle from Austria patrick chiha.

Word on the street is that Critics’ Week fell in love with a Portuguese film, but the fight for first films and second-year films will fuel the selection process along the Croisette to the end, with other candidates included Nezouh from the Syrian director Soudade Kaadan, morrison from thailand Phuttiphong Aroonpheng, my ma from Ukraine Dmytro Sukholytkyy-Sobchuk, 1976 From Chile Manuela Martelli, The pack from Colombia Andres Ramirez Pulido, The story of the woodcutter from finland Mikko Myllylahti, Adversary of the director born in Iran and living in Denmark milad alami, The prey from Lebanon ali cherry, No return by the Franco-Cambodian director David Choo, the last queen by Damian Ounouri, Love according to Dalva from Belgium emmanuel nicotfrench titles Our ceremonies by Simon Rieth, break dog by John Baptist Durand and the call of duty by Hugo P Thomasas well as the workbench by Mathias Gokalp.

As for the titles out of competition, after the already announced Elvis by Baz Luhrman and Top Gun: Maverick by joseph kosinskifrench movies Masquerade by Nicholas Bedos and end cut [+see also:
interview: Michel Hazanavicius
film profile
]
by Michel Hazanavicius are among the most popular predictions. A game of psychic projection that Thierry Frémaux will culminate on Thursday, April 14 with the presentation of the Official Selection (later), followed by the Critics’ Week on Monday, April 18, and the Directors’ Fortnight on Tuesday, April 19.

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(Translated from French)

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