Every morning, between the film, the interview and the star of the day, the hot spot live from the 74th Cannes film festival.
After arriving in dispersed order and the discovery of a year zero Cannes (health pass or saliva test?), It’s time for the cinema. Jodie, funny (“it feels good to go out”), imperial and as always perfect, left the screen to Annette by Carax. With a phenomenal Marion Cotillard, the film surprises and leaves a little cold here. But it is perhaps the mark of a good openness: polarize, intrigue, divide. The one who will put everyone in agreement, however, is Arthur Harari with his Zen war film which opens the Un Certain Regard section: Onoda is the event of the first day of the festival.
The film of the day: Onoda by Arthur Harari (Overture Un Certain Regard)
This second feature by Arthur Harari (Black Diamond) arrives preceded by an almost mystical aura. Onoda and its catchy subtitle: 10,000 Nights in the Jungle, is an intimate fresco against the backdrop of the Pacific War, seen entirely from the Japanese camp. He thus follows in the footsteps of Eastwood (Letters from Iwo Jima) or von Sternberg (Fever on Anatahan), two examples of Westernized cinema having dared to look at the world through Japanese eyes. The Cannes pact seemed acquired for this ambitious fake French film inspired by real events. This did not prevent Thierry Frémaux from snubbing him on the big day of the press conference. Outraged tweets from a privileged few. Onoda finally entered a few days later through another window, opening the Un Certain Regard section. Is this the place that best suits this film, monumental in its duration (nearly three hours) and minimal in its dramaturgy (Zen sketch)? Whatever, Onoda, no longer lives entrenched like his hero, he is there, naked on the Croisette, in the viewfinder of the festival-goer.
Cannes 2021: Onoda is a real shock [critique]
Star of the day: Jodie Foster
Since she’s only a part-time actress (only three films in the last ten years), the best ways to see Jodie Foster in action are her acceptance speeches. There had been the Golden Globe Special in 2013 and its awesome true-false coming out (” I say it loud and clear. I am single ! “). And yesterday there was the presentation of his Palme d’Or of honor. Foster was natural, funny, unfussy, sounding the deconfinement of world cinema and the return of reasoned glamor (” In 2 hours, I’ll be in my pajamas in front of my TV »), Speaking in that perfect French which makes Spike Lee jealous and which had made her, in 1976, at the time of the Cannes presentations of Bugsy malone and Taxi Driver, the little fiancée of France of VGE and Danièle Gilbert. 45 years later, the love story continues.
Interview of the day: Marion Cotillard, heroine of Annette de Leos Carax
Did you like Carax’s cinema before working with him?
Certain scenes of his films are etched in me forever, like the dance of Denis Lavant in Bad blood. And there are those who dazzled me from start to finish like Boy meets girl or Holy motors. What I like about his cinema is that you never know what’s going to happen or where he’s going to take us. We are however sure that there will always be grace and ardor …
Carax gives the impression of being very shy. What is his relationship with the actors?
There is something about him that is much happier than the cerebrality with which he is associated. He loves the grotesque which he transcends and transforms into beauty. I have often seen his eye light up like a cheerful little boy and above all capable of communicating his joy. Because, behind his apparent calm, he lives his cinema intensely. All the more so on this film of which he has dreamed for so many years.
To the point of having extravagant requests?
Every day I was faced with a new difficulty. Like singing perched on 20 cm heels while moving on a board barely 20 cm wide! But there is always an excitement in me to respond positively to any incredible request. Despite everything, I once said no. I was to sing an opera aria in an unlikely costume on a surface where I was really risking an accident. But Leos is not the type to push the actor to his limits. He is not a manipulator. The exchange is very easy with him. He was even particularly generous with me when I asked quite intensively for additional holds in a very tight work surface.
What’s it worth Annette, the new Carax?
The sentence of the day
“It’s likely that Bezos fucked me. But that’s undoubtedly what you deserve when you make an expensive film, “beyond your means”. The film will be released everywhere in theaters, but Amazon, which distributes it in the United States, will eject it as quickly as possible from American theaters to place it on its platform (so called because indeed, it is the flattest form. that businessmen have succeeded in imagining to exploit films). ”
Leos Carax in Liberation yesterday.
The heat stroke
This year, the grand bazaar in Cannes is special in that the usual anxiety of missing a good film because of an overly busy schedule is combined with the worry of meeting the Delta variant in full zumba on the Croisette. But while we can reassure ourselves as best we can with the health pass and our two doses of Moderna (and therefore an excellent 5G connection to send our articles, that’s already taken), we turn on the TV to watch the ceremony. ‘opening. Small hallucination: the shots on the audience looked like a strange science fiction movie, with those hundreds of faces in the air in an armored Grand Auditorium Lumiere. Reassuring to see that between the stars and us, there is always a delta.
Picture of the day