Every day, a look back at the highlights of the 2022 edition of the romantic film festival
Tribute of the day: Christophe
Christophe left on a sad day in April 2020, a victim of this damn COVID. His records, his songs obviously survive this genius passed from yé-yé to electro, fromAline to turn-heart without departing from its mad class and its beautiful quirkiness. But how to get used to this idea that we will never see him on stage again in his concerts of such singular beauty that each seemed an ephemeral prototype that was never the same as the day before and the day after? Dominique Gonzalez-Foerster and Ange Leccia (visual artists and videographers whom he called upon when he returned to concerts in 2002 after years of absence) manage the time of 80 magical minutes to fleetingly fill this void with their documentary Christophe… definitely. We see and hear the singer on stage, behind the scenes, in the middle of his Parisian apartment, like Ali Baba’s cave. A film like a puzzle, like a visual and sound collage to tell as closely and as accurately as possible about the artist that was Christophe, tireless experimenter, twisting his songs like a sculptor kneading clay to tend towards the sublime.
The duo of the day: Alex Lutz and Golshifteh Farahani
For his first feature film as a director, A romantic comedyThibault Segouin (co-screenwriter of guy) depicts a quadra who has always fled his dreams (earning a living as a singer) as well as his responsibilities for fear of failing. And who, after disappearing overnight without explanation three years earlier, finds his ex and finds himself the father of a little girl… 3 years old. As much in the tone as in the beautiful light of Marie Demaison (the first assistant operator of Partridge), the film shuns all cutesy ease and mischievously plays with the codes of romantic comedy. But the deep lightness that dominates this story is also based on its duo of actors. Alex Lutz and Golshifteh Farahani had never worked together and this premiere sparks. In the cries, the bursts of laughter as in the tears. The breaks in tone are part of their DNA and give the story the crazy charm of the unexpected.
The return to form of the day: Hong Sang-soo
Hong Sang-soo is so prolific – 15 feature films in 10 years, who says better? – and is such a part of the landscape that we end up not really paying attention to his films, especially since they are based on such immutable elements (super short duration, large space devoted to ellipses and endless discussions accompanied by tasting without moderation of strongly alcoholic beverages) that one hunts the other without making much noise. But something with this NovelistGrand Jury Prize at the last Berlinale, shakes up this hum, and not only because coffee replaces traditional sake during exchanges between its characters (a successful novelist, one of her bookseller friends who has been lost sight of for years, a director, a movie star, etc.). The novelist is indeed seen as a regular dezincification of the hypocrisy that reigns supreme in artistic circles in his eyes, between compliments that ring false, speckled foil rivalries, superficiality at all levels. This dull violence that erupts at regular intervals during sharp face-to-face recounts this vanity fair in a deliciously ruthless gesture