Cannes 2022 – Day 5: Ruben Oslund mocking, Cristian Mungiu back, and Vicky Krieps evokes Gaspard Ulliel

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

Interview of the day: Ruben Oslund

Five years after his Palme d’Or for The Squarethe Swedish Ruben Ostlünd continues his ironic exploration of the human race. Without filter presented in competition, takes rich characters on a luxury cruise.

Are you happy to be at the Cannes Film Festival which could be a setting for your film with its debauchery of money, appearances, pretense…?

Ruben Ostlünd: Of course! Everyone secretly dreams of living in luxury. More seriously, I love to criticize the social group to which I belong. However, here in Cannes, this world of cinema is mine. The idea with my films is not to position myself in an overhanging position, nor to point the finger at particular individuals, but to have an overview. For Without filter, I started from a story that happened to me here, a few years ago. Back from the restaurant with my wife, we started arguing about the bill, like the couple at the start of the film. You can see that I am not a cynic who condescends to his peers. They all look a bit like me.

The action of The Square mainly took place in a museum of contemporary art. In Without filter, we find ourselves embarked on a luxury cruise. The decor changes, not the subject…

.. If I tell you that the next one takes place on a long-haul flight, you will say that I make the same film over and over again and you will be right. Contrary to what you think, I have faith in the human species. She is capable of doing great things together. As a filmmaker, I love showing our monstrous part.

Ruben Ostlund
Copyright Bac Films

Video of the day: Vicky Krieps and Emily Atef look back on More than ever

Hélène and Mathieu have been living as a couple for many years. But when she discovers herself ill, Hélène decides to leave to find peace and experience their love… This intimate drama carried by Vicky Krieps marks the last appearance on the screen of Gaspard Ulliel. The two women return to this film and the actor who disappeared at the start of the year.

Movie of the day: NMR by Cristian Mungiu

From Cannes, Cristian Mungiu never left empty-handed. Palme d’Or in 2007 for 4 months, 3 weeks and 2 daysscript price for Beyond the hills in 2012 and Best Director Award for Baccalaureate in 2017. Never three without four? It is obviously impossible to deliver a certain prognosis at this stage of the competition. But NMR has, obviously, everything to achieve this with this feat of encapsulating just over two hours all the issues common to our Western societies (unemployment, growing precariousness, failure or rather deviation of the European model and its aid system, fear and, by extension, hatred of foreigners, etc., which make daily life more unbreathable. All in a cinematic gesture of crazy clarity where naturalism and dreamlike dialogue marvelously. His story unfolds in a multi-ethnic village in Transylvania where the hiring in an industrial bread factory of workers from Sri Lanka (in positions that his locals refuse to occupy, preferring to go and earn more… abroad) will ignite the powder and explode the frustrations, the hatreds of class, religion and race buried for years. With a scene as symbolic as it is impressive: 17 minutes of static shot at the heart of a municipal meeting aimed at deciding whether or not the Sri Lankans should be driven out of the village. Like Ruben Östlund with Without filter, presented in competition a few hours earlier, Mungiu embarks on a journey to the heart of inhumanity. But there is no trace here of laughing cynicism, nor of a contemptuous gaze on all of his characters. Mungiu explores the absurdity of the situations, deciphers the approximations and the rumors at the base of this hatred of the foreigner, while around this village and its inhabitants, giving free rein to their most basely animal instinct, drag bear to whom the filmmaker leaves the last word during a final shot as majestic as it is open to all interpretations. An open ending for an impressive work.

NMR by Cristian Mungiu
The pact

Emotion of the day: Alice Winocour opening the screening of See Paris again

She took the stage with almost all of her cast. And a sheet in hand. Before presenting his fourth feature film See Paris again this Saturday evening at the Quinzaine des Réalisateurs, Alice Winocour takes the floor. But very quickly, his voice becomes veiled and his hand holding this sheet begins to shake. See Paris again recounts the way of the cross experienced by the survivors of an attack to rediscover the precise memory of the tragedy, the only way to resume the course of their lives. But this film, as she explains by managing to go through with these words that she had written (without which she would undoubtedly have been unable to pronounce them), Alice Winocour dedicates it to her brother, present at the Eagles concert. of Death Metal at the Bataclan on the evening of November 13, 1995. He too made it out alive, but not unscathed. The emotion that overwhelms her at that moment sets the tone for what is to follow. A heartbreaking and dignified film, powerfully organic in the way of recounting these mental as well as physical reconstructions. An hour and 45 minutes later, a long, very long standing ovation will greet the final image of See Paris again, its director and its performers, the sparkling Virginie Efira and Benoît Magimel in the lead. The emotion had changed sides. She had taken over the room.

See Paris again
Pathé Distribution

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