Cannes 2021 – Day 10: Léa Seydoux superstar, interview with Leila Bekhti and long live France

Every morning, between the film, the interview and the star of the day, the hot spot live from the 74th Cannes film festival.

The star of the day: Léa Seydoux in France by Bruno Dumont (in competition)

Everywhere and nowhere. Here and elsewhere. The virus – which we no longer even want to name – has prevented the star of this 2021 vintage from coming to tread in flesh and blood on the red steps. The “positive” Léa Seydoux lives withdrawn in herself in Paris while her avatars parade on the large “croisette” screens: Simone (The French Dispatch), The English lover (Deception), Lizzy (My wife’s story) and therefore France in … France by Bruno Dumont. This frenzied ubiquity, necessarily evil and schizophrenic, is precisely the subject of the new film by the author of P’tit Quinquin, where how a journalist-star of a 24-hour news channel ends up rejecting her own image to the point of not knowing where to turn. Léa Seydoux lets go as never before, her character dances in the middle of the bombs, tries to destabilize Macron … The actress also winks at the viewer and her director who asks for more in the headset (Dumont is indeed directing her performers live with this very televised process!) She is right: “nothing is true, everything is allowed”. But France also cries, to the point of seeing her face distort with sadness. A depression sets in on the film. Seydoux therefore, it is also rough.

The movie of the day: High and loud by Nabil Ayouch (in competition)

The game in Cannes is to find the film that will please the president of the jury. Once surrounded, the festival-goer does not let go, and immediately places it at the head of the list, before inevitably settling on the altar of the crappy deduction (the directors of filmmakers generally rewarding works from a thousand leagues away. of their universe). We can therefore bet that this High and loud around a group of young rappers from a working-class neighborhood of Casa, will leave empty-handed as he responds point by point to King Spike’s reading grid: political subject, musical vitality, portrait of an under-represented youth, projections angry who should offend the ears of the Moroccan authorities … In addition to these laudable intentions, the other parameter to take into account is the glaring weakness of the film. Because if Nabil Ayouch knew how to bring together a generous and fascinating documentary material, it does not resist the mill of fiction. Result, the filmmaker flies over everything, including the territory of the action (a slum in Casablanca) that he observes the time of a general plan with the drone. Too bad, because the personality and charisma of Anas, the protagonist, augured the best. High and low therefore.

The trip of the day: Memoria by Apichatpong Weerasethakul (in competition)

Tilda Swinton climbs out of her bed. BOOM! A huge noise comes to wake her up. How to find sleep? For the heroine of Memoria, sleeping is a problem. Not for the spectators, who plunge from the first minutes of the film into a curious state of hypnosis, cottony half-sleep, encouraged by the king of filmic narcosis Apichatpong Weerasethakul. Undoubtedly the only filmmaker on the planet who pushes his spectators to take a nap – here, in this case, with the help of a sound design sumptuous. But he also takes great pleasure in waking them up, regularly, with this shattering and mysterious BOOM! which sets the pace for the film, sort of whodunit hearing that bangs in Swinton’s head. An enigma in the form of the sound equivalent of the monolith of 2001. Your eyelids are heavy, yes, but your ears are on the alert. Insensibly, by small touches, Weerasethakul is however organizing a sort of collective trance. In the last thirty minutes of the film, as Swinton’s investigation is turning into a psychoanalytic-science-fictional trip, no one is sleeping, all the spectators have wide eyes. And… BOOM! The film is over. When leaving the room, on the sidewalk in front of the Palais des Festivals, everyone has their own interpretation. We rub our eyes. The film is over, yes, but the (interpretive) trip has only just begun.

The other trip of the day: Beautiful by Mamoru Hosoda (Cannes Premiere)

Last week, we excited the pupils of Cannes in front of a documentary to the glory of Satoshi Kon, director of Perfect Blue and Paprika disappeared in 2010. Docu in which appears the testimony of many big names in Japanese animation, including Mamoru Hosoda. The director had adapted with Crossing time a story by the same author (Yasutaka Tsutsui) as the one who gave birth to Paprika. In an almost konesque movement, Hosoda landed on the Croisette yesterday with his new film, Beautiful, added at the last moment in the brand new selection of Cannes Première trinkets – whose name, as we recall, has nothing to do with our humble editorial staff, who would have seen Beautiful in official competition (the exciting Where’s Anne Frank! Ari Folman is also relegated out of competition) -: the new Hosoda is a phenomenal reinterpretation of The beauty and the Beast from Disney that was reportedly rewritten by Neal Stephenson. A singer and hyper shy high school student becomes Belle, idol superstar of a virtual reality social network, and she is going to meet the Dragon, a majestic wounded monster and croquemitaine of the network … Far from being limited to a nicely pop cyber fairy tale, Hosoda synthesizes all his obsessions and all his themes, from Summer wars at Mirai, Wolf Children at Boy and the beast, and adds a generous dose of superheroism to this great odyssey of utopian and generous SF, overwhelming with emotion. Without a doubt one of the most accomplished trips of this Cannes 2021, and among the two busiest hours of the Festival. Released on December 29 in our beautiful country.

Beautiful (2021)
Studio Chizu

Itw of the day: Leila Bekhti and Damien Bonnard (The Unquiet by Joachim Lafosse, in competition)

The revelation of the day: Yassine Qnia, the director of From low floor (Directors’ Fortnight)

He was studying topographer surveyor when the vocation of directing fell to him during the Clermont-Ferrand 2010 short film festival where his spontaneous application to be part of the young jury had been accepted. Eleven years and a handful of shorts later, here he is in Cannes for his first feature film, filmed in the city where he grew up and which he knows like the back of his hand: Aubervilliers. The chronicle of an announced impasse, that of its main character, a little thug in his thirties whose burglaries with his accomplices are less and less profitable and who clumsily tries to win back the mother of his son, tired of the situation. The sentimental drama here marries film noir in a never flashy gesture, like the modesty of its central character, portrayed with grace by Soufiane Guerrab (Patients) who does not miss her first big role on the big screen, in a duet of a crazy cinégénie with Souheila Yacoub (just as amazing two days ago in Between the waves by Anaïs Volpé, also presented at the Fortnight).

The heatstroke: Americans freak out in Cannes

Our colleague from Vulture describes his Cannes not so Covid friendly, with various anecdotes about the French with masks under their noses in the theaters, the American vaccine certificates impossible to validate in France, the evenings where social distancing is all relative … In short, a small ball of anguish but written in a way very funny, where the journalist also discusses the “gap”, this one-year gap for the festival, due to the pandemic, and which Bong Joon-ho seems to totally ignore. A funny story to read to realize the local health situation.

Quote of the day: Léa Seydoux at World

“I am not a sex symbol. Okay, yes, I’m pretty good but still, above all, I’m an actress ”

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