Every morning, between the film, the interview and the star of the day, the hot spot live from the 74th Cannes film festival.
Film of the day: Les Intranquilles by Joachim Lafosse (in competition)
Five years later The couple’s economy presented at the Directors’ Fortnight, Joachim Lafosse is back in Cannes for his first steps in competition. The Unquiet emerges after a delicate moment in his career: the failure of his adaptation of the novel by Laurent Mauvignier, Carry on. And the discovery of the film reminds us how the career of a filmmaker is only a permanent succession of ups and downs. The Unquiet tells a story of love against all odds, the one that unites Leila and Damien, despite the latter’s bipolarity, subject to uncontrollable and uncontrolled crises. The risk is great in this kind of business of getting bogged down in the film on the subject (mental illness and its collateral damage for those around them), especially if it is accompanied by a show of force from the actor embodying the fizzes. repeated lead. This is precisely all that is not The Unquiet. Built in close collaboration with its two performers, the film precisely transcends its subject. First of all, by the very finesse of Damien Bonnard’s interpretation. The actor is never in the demonstration, avoids the stuttering of what the scenes tell, and builds an accomplice relationship with a Leïla Bekhti in tune. Then because the disease is not the heart of the film, but rather what prevents the couple to live serenely this love which unites them, them and their child. The Unquiet terrace you emotion (s) precisely because it does not sacrifice to any tearful ease. The competition ends on a high note. And two years after presenting right here Wretched, crowned with a Jury Prize, Damien Bonnard would make a fine winner of the interpretation prize.
Star of the day: Bill Murray
It’s party time for Bill Murray! Already present in Cannes for The French Dispatch by Wes Anderson (where he plays a role as minimal as it is central), the coolest of us returned last night to the Palais for New Worlds: The Cradle of Civilization, a well convoluted title for a film where Murray and cellist Jan Vogler meet at the Acropolis, for a mixture of literature and music. Finally, we tell you that but we did not see it during this penultimate evening in Cannes, the call from the local McDonald’s being too strong. But the festival program promised us a show ” extremely entertaining and deeply touching “,” infused with Murray’s signature charm “. Just for this cover ofAline, we bite our fingers a little for not having been able to find the motivation.
Bill Murray takes Aline de Christophe on the Debussy stage for the presentation of the documentary #NewWorlds. Unique moment@Festival_CannesIn addition to this, you need to know more about it. # Cannes2021 #BillMurray pic.twitter.com/NEA5Jd6nld
– Vié Caroline (@Caroklouk) July 16, 2021
Interview of the day: Gaspar Noé and Alex Lutz for Vortex (Cannes Premiere)
The surprise of the day: Revolution of our Times by Kiwi Chow (Official Selection)
Last minute ! In a typical Cannes gesture, the festival added “at the very last minute” a documentary to its Official Selection (” We saw the movie late and loved it (…) We don’t play a game by making surprise projections », Assured Thierry Frémaux just before the screening, yesterday), the arsonist Revolution of our times. Armed with images shot on site in 2019 and 2020 and videos shot on a smartphone by protesters, director Kiwi Chow recounts the struggle of the inhabitants of Hong Kong for their freedom against the Chinese regime. It must be a grimace in Beijing: beyond its fairly classic form and its chronological narration punctuated by testimonials in front of the camera, the documentary is almost an act of resistance in itself. We dive behind the scenes of a spontaneous revolution of citizens, of very organized chaos where everyone has a role – even a small one – to play. This is surely the strong point of the film, which is not limited to showing police violence or sieges of official buildings: Kiwi Chow also draws the portrait of these millions of anonymous inhabitants, who have nothing of other than refusing to let go of their hard-won lifestyle. Between two barely believable drone shots where we can see the demonstrators disperse “like water” in the streets of Hong Kong, a cowardly witness: ” We are nobody. And nobody is everyone. “
The curiosity of the day: Emergency Han Jae-Rim’s statement (Out of competition)
From the first to the last day, he was the star of the festival. This damn virus which the rumor predicted, a week ago, that it would force Cannes to close its doors well before the scheduled date. And now he invites himself in one of the last films screened in this edition. Not COVID itself, but an equally evil cousin, imagined by the very visionary South Korean Han Jae-rim in 2019. The film tells the story of the organization of a bio-terrorist attack on a plane en route to Hawaii. The virus causes slaughter among passengers (this is the closed-door part) and chaos on the ground (where investigators seek to find out all about the terrorist while politicians are confronted with protesters refusing the theft to land on Korean soil). Here, fiction does not go beyond reality, but it espouses it in the quest for a hypothetical happy ending. By the way, when is it due?
Quote of the day: Jodie Foster in the JDD
“If the Cannes Film Festival asks me to be president of the jury, I will say yes!”
The revelation of the day: Dario Argento in Vortex (Cannes Premiere)
And our revelation of the day is therefore an almost beginner 80-year-old actor named… Dario Argento. This is the brilliant casting idea of the Vortex by Gaspar Noé: redoing his own version of Love Haneke by hiring as equivalent of Jean-Louis Trintignant none other than the great wizard of transalpine cinema. By her side: Françoise Lebrun, the mythical Veronika from The Mom and the Whore. Or the association of two cinema traditions which have sometimes been perceived as contradictory, but which are nevertheless intertwined with each other, by their strategic location in the post-68 counter-culture, by a never-ending thirst. sealed off from transgression and the absolute, and by the specters of the high, too. Dario Argento, in the skin of an old filmmaker imprisoned in his apartment-mausoleum, is extraordinary, magical, ruminating on a book on cinema and dreams, quoting Poe in his voice so weary, so sweet (“Life is a dream in a dream ”), seeing the Vampyr by Dreyer and Solaris of Tarkovsky before the big departure. And the film of becoming, by its mere presence, an ode to all these magi of the last century, the keepers of a secret soon to be lost forever, the very ones that Noah called by their first names in his previous film, Lux Aeterna (Luis, Jean-Luc, Rainer W., Carl Th.), As we allow ourselves to call masters who have ended up becoming friends … Viva Dario!