Cannes 2022 – Day 4: Desplechin and Cotillard in competition, the interview with George Miller and a donkey that upsets the festival

Every day, between the film, the interview and the fact of the day, the hot spot live from the 75th Cannes Film Festival.

Movie of the day: Brother and sister by Arnaud Desplechin

Desplechin reconnects with his family chronicles whose heartbreak constitutes the beating heart. In this case, a brother and a sister, driven by mutual hatred and who, after 20 years without seeing each other, will be called upon to meet at the bedside of their parents plunged into a coma. Desplechin rediscovers the sense of the romantic that was so lacking in Deception. In Brother and sister, we smile to hide our pain, we are silent because no words can translate the violence of what we feel. And when suddenly, the word takes over, the moment scotches you with brutality. To transmit all this, Desplechin surrounds himself with actors whom he directs to perfection – from Melvil Poupaud to Patrick Timsit. As for Marion Cotillard, she delivers one of the most beautiful scores of her career where her explosiveness is permanently contained and is expressed more in bursts of laughter or desperately lost looks than in impetuous explosions. Rediscovering an actress you thought you knew by heart is also the magic of Desplechin.

Brother and Sister review

Interview of the day: George Miller

seven years later Fury RoadMiller returns to Cannes (out of competition) with 3000 years waiting for you. A fantastic story which, like the Thousand and One Nights, recounts the meeting between a mythologist and a Djinn, locked in a hotel room. The Djinn will begin to tell the scientist his thousand-year-old story. Beautiful theoretical film, fabulous metaphorical tale and stunning love story, 3000 years waiting for you celebrates above all our need for stories. But why and what are they used for? We asked George Miller the question.

The star of the day: Hi Han’s donkey

With his big ears and perfect gray coat, Hi Han’s donkey would have looked great on the steps of Cannes, but he had to settle for seeing his photo held up by his director Jerzy Skolimowski throughout the standing ovation that took place. followed the screening of the film. This great absentee is the hero of this visual poem of mad freedom, “trippy”, sensory cinema, reminiscent of Gaspar Noé. A donkey chased from a circus then dragged from right to left, becomes the witness of the world and of humanity as they go. Evil. A stoic victim, the donkey endures the suffering inflicted on it by men. And the beast turns into a revealer of their vices, their sadism, their greed. As in Random balthazar – one of his bedside films – Skolimowski films his itinerary like a Christian way of the cross. And Hi Han – his name in the movie – is outstanding. We would have liked to know if he was inspired by the Bresson donkey, but he therefore preferred to keep the mystery, far from the Croisette and the paparazzi. Unless a special interpretation prize comes to greet him and pushes him to come and walk the Cannes red carpet? It is well known, the stars never move for nothing.

Recess of the day: Hunt by Lee Jung-jae

A card immediately warns that the film is inspired by real events but that any resemblance to reality is purely coincidental. OK, that’s the game, we won’t hunt too much Hunt in the field of geopolitics and relations with reality, but rather in the field of pure action – and that’s good, because Hunt is seen above all as a complex action film. Against a background of explosive political instability (the introduction of martial law in South Korea in the early 80s), a mole hunt began in the upper echelons. Two super-agents race to flush it out: on one side an ex-soldier, on the other an experienced spy, the first leader of internal espionage and the other the agents abroad. It’s the directorial debut of actor Lee Jung-jae (one of South Korea’s biggest stars), and he uses all the know-how of his country’s technicians to deliver a huge action film – and even “huge” seems skimpy as each scene has the potential to turn into an epic gunfight. A brilliant intro where we gun at all costs, the recovery of a defector in the middle of Tokyo which becomes a gun fight bewildering, the opposition between the two spy agencies which turns into a general fight, the final over the top… Nothing but a big recess? In Cannes, we never spit on it.

The audacity of the day

We owe it to Dominik Moll for his great return to Cannes, 17 years later Lemmingwith The Night of 12, presented in the Cannes Première section. Indeed, it takes some to dare to place a box at the very beginning of his film… which reveals his end to us! Namely that the investigation into the death of a young woman burned alive by an arsonist will not be resolved. A bias therefore inflated but paying. Firstly because the film, one of the best since the beginning of this festival, transcends the result of this investigation to more broadly seize the question of violence against women and show how the fact that investigations into these feminicides being carried out by predominantly male police officers influences the interrogations and therefore the result of the investigation itself. Then, because even if we therefore know the outcome, The Night of 12 is crossed right through by a tension that keeps making us believe that we have misread the initial panel. The director of Harry, a friend who wishes you wellfinds the peaks, halfway between L627 and one Memories of murder made in France

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