Every day, between the film, the interview and the fact of the day, the hot spot live from the 75th Cannes Film Festival.
Actor of the day: Benoît Magimel in pacification by Albert Serra (In competition)
Last Saturday, he camped a survivor of an attack in full reconstruction in See Paris again by Alice Winocour, presented at the Directors’ Fortnight. And this afternoon, he was climbing the stairs to pacification, the film as strange as bewitching by Albert Serra where he plays a High Commissioner of the Republic stationed in Tahiti in the face of growing rumors of the resumption of French nuclear tests on the spot. Two films and two roles at the antipodes… but one and the same actor: Benoît Magimel. An insane charisma, a game of fascinating clarity, an ease in evolving on all terrains as if he knew every bit of it. In Serra’s film, one might think he had escaped from the pages of a Joseph Conrad novel. He inhabits space even before he has uttered a single word. And instantly seems to have adopted the filmmaker’s particular method (dialogs blown into the earpiece). After his César a few months ago for In his lifetimewe dream of seeing him win a second Cannes interpretation prize 21 years after the one for The Pianist. It’s only happened three times in the history of the festival with Dean Stockwell, Marcello Mastroianni and Jack Lemmon. He would look so good in this very chic club.
Interview of the day: Hirokazu Kore-Eda for Les Bonnes étoiles (In Competition)
The Japanese filmmaker – Palme d’or 2018 for A Family Affair – returns to Cannes, in official competition, with The Lucky Stars, a little masterpiece of emotion that once again observes a dysfunctional family. But for this film, Kore-Eda went to shoot in Korea with star Song Kang-ho.
Quote of the day: ” We like each other but do we really love each other? » by Diam’s in Hello (Special screenings) co-signed Diam’s, Houda Benyamina and Anne Cissé.
Produced by Rawone of the festival’s partners, Hello is a portrait-confession of the successful ex-rapper retired from showbiz for 10 years for a life entirely focused on spirituality. Diam’s back to being Melanie converted to Islam after what looked like a severe depression. Suddenly veiled, the media overreacted, forcing the interested party to disappear a little more in her bubble, far from the unleashed crowd. 10 years have passed. She speaks here in front of the camera, pours out and throws punchlines in the form of haiku like: ” The room was full, I was empty… “, or : ” we like each other but do we really love each other? “. To this last question, Diam’s has found the answer. The film gives the floor to relatives – all loving – and follows Mélanie in her associative life or, more surprisingly, on the bow of a catamaran facing dolphins. In short, Diam’s is the anti-Elvis.
The (disappeared) animal of the day: the ugly dodo of Dodo (Cannes Premiere)
But what do you sleep, say? Panos H. Koutras, nothing less than the Greek director of Attack of the Giant Moussakacame to present his Dodo in the “food and drink” selection of the festival: Cannes Première. Dodo, as its name does not indicate, is the story of a couple on the verge of ruin who are about to celebrate the marriage of their daughter with a rich heir, just to literally save the furniture. This is where a dodo shows up in the garden, an animal supposed to have disappeared from the surface of the Earth 300 years ago… The relationship between the two? Absolutely none, and this is surely the biggest problem of a film that would like to combine total zaniness and comedy of manners on the Greek crisis. There remains a little perverse pleasure for the spectator to observe this digital dodo, perfectly ugly on the outside, scaring the fright out of humans who are at least as ugly on the inside.
Movie of the day: Close by Lukas Dhont (in competition)
More than ten minutes of standing ovation greeted this evening the entry into competition of the winner of the Caméra d’Or 2018 with Girl. The story of a fusional friendship between two kids, shattered by a tragedy, through which Lukas Dhont once again proves his ease in the field of modest melody, aware that the emotional strength of the ordeal experienced by his characters would be betrayed. by any tearful drift. The filmmaker quickly establishes the bond that unites these two 13-year-old kids. A fusional and very tactile friendship which, at the time of leaving childhood to enter the tumultuous hours of adolescence, earned them the finger pointing of some of their little comrades. The words “pedal” or “swatter” begin to fuse. Not in everyone’s mouth – many are those who, on the contrary, take their defense – but enough to start creating a distance between them. Léo moves away and Rémi does not understand, suffers, enrages, before he can no longer bear to live. Close then becomes a film on the guilt of the one who stays where Dhont plays ellipses so as never to fall into the unbearable, sometimes even if it means holding back the horses a little too artificially. And as he had done with Victor Polster in Girlit reveals two striking young actors, Eden Dabrine and Gustav de Waele, while crossing, not without superb, the always tricky course to negotiate for the second feature.
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