Elvis, The Almond Trees, The Good Stars… Fifteen films to remember from Cannes 2022

In competition and out of competition, which the editorial staff of Première preferred during the festival.

Armageddon Time by James Gray (in competition)

After ten years of absence from Cannes (he had preferred to show The Lost City of Z in Berlin and Ad Astra in Venice), James Gray was back in the race for the Palme d’Or with an initiatory story with autobio accents, a whispered childhood drama in autumnal colors. Behind the languid tempo of the eighties chronicle (a tempo that is a bit too soft, according to some of the editorial staff), hides an explosive statement about the crash of American ideals. As a bonus: a huge number by Anthony Hopkins, who has earned a place of choice in the anthology of the best grandfathers in the history of cinema.

Coming soon

As Bestas by Rodrigo Sorogoyen (Cannes Premiere)

Visibly passed very close to the competition (“ The movie came very, very late in the process “, assures with a hint of regret in the voice Thierry Frémaux), As bestas features a French couple settled in the open Spanish countryside, Antoine (Denis Ménochet) and Olga (Marina Foïs), confronted with rednecks locals pissed off and ready to do anything to chase them away. A war of neighbors of a hallucinating tension, straddling the horror film and the western. After El Reino and Madrethe Spanish prodigy Rodrigo Sorogoyen confirms all the hopes based on him.

Released July 20

The Almond Trees by Valéria Bruni-Tedeschi (In Competition)

Valeria Bruni-Tedeschi recounts the School of Almond Trees run in the 80s by Patrice Chéreau – and of which she was then one of the students – in an explosive and abundant choral film which carries you away with the power of its reflection on the way of to be an actor and to live this job like no other which forces you to abandon yourself at the risk of getting lost. In front of his camera a group of phenomenal actors dominated by the one who embodies him: Nadia Tereszkiewicz.

Released November 9

The Lucky Stars by Hirokazu Kore-Eda (In Competition)

Thirty years that Kore-eda speaks of broken families. Here we follow two thugs, a street urchin and a lost young woman who are trying to sell the baby that the latter has decided to abandon. Begins a funny road movie that will force these marginalized people to live together for the duration of an existential trip… Even exiled in Korea, Kore-Eda therefore remains faithful to his cinema: he films his damaged solitudes, at the height of a child, like so many shaggy toons (we think a lot of Miyazaki and the Tokyo Godfathers by Satoshi Kon) inseparable from the dilapidated van that makes them exist. Above all, he asserts himself, once again, as a genius watercolourist: gradually taking on a crazy scale, his miniature drama with changing climates succeeded in two micro-scenes (the Ferris wheel and the evening ritual) to make Lumière crack up. . Unstoppable.

Released December 7

The Crimes of the Future by David Cronenberg (In Competition)

No matter how much you dissect a kid’s body, grow ears on your body or kill people with a drill, the real shock scene in the new Cronenberg is when a kid eats a plastic trash can. Here is something unprecedented in his cinema, which remains in mind, before the film plunges us into the interzone of a twilight Athens haunted by performer a bit dumb and biotech charlatans. Basically, what is the project of the Future Crimes ? Do not deliver any prophecy (fatally destined to be outdated very quickly) on the state of the world, or prospect for “new flesh”. But to return to Cronenberg’s cinema, its excesses and its parodies, and deliver an autopsy of oneself before it all ends.

Already in theaters

Decision to Leave by Park Chan-wook (In competition)

Not too twisted, the Park Chan-wook 2022? For his return to the Croisette, the director ofold boy and of Miss seems to be turning his back on his mechanical bondage to move towards an apparently very soft romanticism: a maniacal cop becomes obsessed with the suspect in the murder of her husband. Result, a kind of Cold sweat absurd, or Basic Instinct sexless, revolving around the magnificent idea of ​​thwarted lovers, irresistibly attracted but forbidden from the slightest contact. Downright haunting – like the incredible actress Tang Wei – tragic, funny and melancholy… Quite twisted, actually.

Release June 29

Elvis by Baz Luhrmann (Out of competition)

Excessively parodied and semi-outdated over the years, the figure of Elvis was only waiting for Baz Luhrmann to regain its original colors. Biopic “heightened” as the Americans say (understand heightened, supercharged, roller coaster trend), Elvis recounts as much the life of Presley – the thundering Austin Butler – as the evolution of his country over three decades. Filmed as a pop culture superhero, the King is definitely resurrected. Elvis has entered the building.

Release June 22

EO by Jerzy Skolimowski (In competition)

In a Bressonian tribute (Random balthazar), Polish Skolimowski, 84, directs an animist film in which a donkey supports an almost cosmic story. From the circus where he is expelled, Eo will be dragged from right to left and come across an inglorious humanity (alcoholics, traffickers, Huppert who breaks plates…) From his mischievous eye, we can feel the dawn of irony, weariness and resignation. At the height of a donkey, we see each other better. In the image, Skolimowski, visual artist and painter at heart, amazes with formal and sonic flights of uninhibited lyricism.

Coming soon

Falcon Lake by Charlotte Le Bon (Directors’ Fortnight)

It’s his crush on A sister, the graphic novel by Bastien Vivès, which inspired Charlotte Le Bon to take the leap. To try the long format after a first short. Falcon Lake tells a coming of age story and explores the overflowing sexual urges that arise in adolescence by plunging its two heroes (a 13-year-old boy and a girl 3 years his senior) to the edge of the fantastic. A film with a bewitching atmosphere further served by the quality of its direction of actors (Joseph Engel, revealed at Louis Garrel, and Sara Montpetit in the lead).

Coming soon

Leila and her brothers by Saeed Roustaee (In Competition)

As in Tehran Law who revealed it in 2021, Saeed Roustaee’s new film opens with a sequence that definitively imposes the formal power of this gifted filmmaker. After its infernal prologue, we plunge into a family drama that reflects the disruptions of Iranian society. If the critics took out the Farhadi card a little too easily (the film precisely flees realism and flirts with Italian comedy), the story of this family tearing itself apart to tear shreds of inheritance from the patriarch rather made us think at Succession – the tragedy, the incredible formal mastery and the cruel irony.

Released August 24

The Night of 12 by Dominik Moll (Cannes Premiere)

By telling the story of an investigation – which he tells us from the start unresolved, in a daring gesture – into the death of a young woman burned alive by an arsonist, Dominik Moll takes up the question of violence made to women. It shows how the fact that the investigations into these feminicides are carried out by predominantly male police officers influences the interrogations and therefore the outcome of the investigation itself. A gripping thriller, somewhere between L627 and Memories of murderdominated by a permanent tension that keeps making us believe that we misread the initial panel.

Released July 13

The Otto Montagne by Charlotte Vandermeersch and Felix Van Groeningen (In Competition)

It is the story of a friendship. That of Pietro, the solitary child of the city, and Bruno, the fierce kid of the mountain pastures. For years the little Milanese returns to the village to leave again and feel the nostalgia of the peaks again. And then one day the two friends leave each other… before meeting again. Story of friendship, story of initiation, the film advances between awakening and melancholy sometimes flirts too much with the lessons of life, but as always with Groeningen it is a question of embarking its spectator in a big emotional 8. His ultimate weapon? The tops. Beautifully framed in a square format that compels figures and viewers to look up, the mountain is not just a poetic setting. It transforms the heroes, acts on them and gives this existential chronicle a mad intensity.

Released December 21

See Paris again by Alice Winocour (Directors’ Fortnight)

Alice Winocour tells the way of the cross experienced by the survivors of an attack to find the precise memory of the tragedy, the only way for them to resume the course of their lives. Dedicated to his brother (present at the Bataclan on the evening of November 13, 1995, but released alive) this film is a work as heartbreaking as it is dignified, powerfully organic in its way of recounting these mental and physical reconstructions of the survivors. In one hour forty-five, Winocour (re)gives voice and body to suffering that has become much more than that – a social fact, a political issue. In this register of incarnation, the sparkling Virginie Efira and Benoît Magimel bring an emotion and an intensity that will have been one of the moments of grace of this edition.

Released September 7

Torment on the Islands by Albert Serra (in competition)

To films cluttered with their own dramaturgy, Serra responds with his art of destitution. He lets his camera soak up a space where the bodies do not show off but rather tend to fade away. From then on, the magnetic power of Benoît Magimel becomes incandescent. Torment on the Islands takes place in Tahiti against the backdrop of a possible resumption of French nuclear testing. A tired High Commissioner tries to reassure a population that only half listens to this puppet. Serra’s staging offers moments of crazy grace. Beautiful like a sunset over the lagoon.

Coming soon

Three thousand years waiting for you by George Miller (out of competition)

seven years later Fury Road and just before returning to polish the myth madmax with the prequel Furiosa, George Miller allows himself a little reflective pause with this astonishing and very seductive film in the room, where Tilda Swinton (as an expert in narratology) and Idris Elba (as Djinn discovering the modern world) travel in time and space thanks to the power of stories. A captivating trip, both playful and profound, signed by one of the most inventive storytellers of the last half-century, never where we expect him.

Released August 24

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