Every day, the Rédac ‘d’AlloCiné summarizes the films seen during the 74th Cannes Film Festival. Today, spotlight on Everything went well in competition, Ouistreham at the Fortnight and Robuste, opening film at the Semaine de la Critique.
The Cannes competition kicked off yesterday evening, Tuesday July 6, with the screening of Annette, an astonishing musical show signed Leos Carax, led and sung by the impressive Marion Cotillard and Adam Driver. Today, it is François Ozon’s team who climbed the steps of the Palais, presenting festival-goers with his latest opus Tout s’bien va va, adaptation of the autobiographical novel by Emmanuèle Bernheim, centered on the question of law. to die with dignity.
At the same time, the Directors’ Fortnight saw a band of remarkable girls arrive from Ouistreham. In Special Screenings, the documentary by Leo Scott and Ting Poo, Val, upset the spectators and a duet composed by a seasoned actor, and not least, Gérard Depardieu, and a young actress Césarisée, Déborah Lukumuena opened film Critics’ Week . AlloCiné’s editorial staff are on site, have seen it all and are telling you about it!
Everything went well by François Ozon (Official Competition)
Everything went well, a symbolic phrase from a drama that deals with the end of medically assisted life requested by a gruff family man camped by an impressive André Dussollier. Even if it is less frontal than Thanks to God, Everything happened well still distills a political dimension by angling its subject of society under the prism of the intimate. Francois Ozon takes care to dissect a dysfunctional family with sincerity and humanism, two qualities also demonstrated by actresses Sophie Marceau and Geraldine Pailhas, fair and overwhelming.
Under the new eye of François Ozon, faithful director of the life of his friend Emmanuèle Bernheim, Sophie Marceau is overwhelming with sobriety and strength. Faced with this role of a devoted daughter from whom he asks the impossible, André Dussollier plays a father victim of a stroke, as selfish and cynical as he is irresistible and comical, in whom the instinct for life coexists with an imperturbable desire for death. . An impressive performance that we will not soon forget. Ozon is definitely one of the greatest directors and revealers of actors.
The Knee of Ahed by Nadav Lapid (Competition)
En abyme within the competition: act 2! As Leos Carax in Annette, Nadav Lapid (Golden Bear in Berlin with Synonyms in 2019) also features an artist. In this case, a director who is preparing a film about Palestinian activist Ahed Tamimi, arrested after hitting an Israeli soldier and who was recommended by a deputy to be shot in the knee.
But Ahed’s Knee is also (and above all) the main character’s fight for freedom in his country, when his presence in the post-screening debate of one of his films is conditioned on the signing of ‘a document specifying the themes he wants to address. Facts experienced by Nadav Lapid, who made his debut in competition full of rage.
If the political message is strong and current, the form is not totally convincing, with a first part torn between several subjects and incongruous camera movements that tend to take us out of the story. But the bottom line is more fly afterwards, and who knows if his message will not resonate with the jury.
Ouistreham by Emmanuel Carrère (Directors’ Fortnight)
The novelist Emmanuel Carrère is back to directing, at the helm of a free and romantic adaptation of “Quai de Ouistreham” by journalist Florence Aubenas. A film that is both harsh and very moving, which plunges us into the daily lives of cleaning ladies, precarious workers who have been invisible for too long. Around Juliette Binoche, more invested and luminous than ever, gravitates a plethora of non-professional actresses shouting with force and truth, at the heart of this drama combining identity theft, quest for truth, resilience and a story of thwarted friendship.
Juliette Binoche slips easily and naturally into the skin of Marianne Winckler, a renowned writer, who is working on a book on precarious work. But the actress is ultimately more our medium than the real heroine of this drama. Those who illuminate the film are these non-professional actors, Hélène Lambert in the lead, who impress with their acting, their ease and their sincerity. Between laughter and tears, they embody with generosity and humor the shadow workers despised by society. This choice by Emmanuel Carrère accentuates the documentary side of the work and brings a welcome humanity.
Robuste by Constance Meyer (Critics’ Week – Opening film)
Robuste brings together two performers with very different profiles: on the one hand there is Gérard Depardieu, icon of French cinema. He embodies Georges, an unmanageable and declining actor. On the other, there is Deborah Lukumuena, an equally talented young actress, revealed in Divines in 2017 – a film for which she won the César for best actress in a supporting role. She plays Aïssa, a security agent passionate about wrestling. When these two beings meet, a spark begins to shine. For her first film, director Constance Meyer portrays the budding friendship of two people who look more alike than they realize. The film works because its duet is tender, endearing, moving and its dialogues very well written. Some will see a bit of Lost In Translation in this very simple but very effective story.
Val by Leo Scott and Ting Poo (Special Screenings)
For some, he’s Iceman in Tony Scott’s Top Gun. For others, the Bruce Wayne from Batman Forever by Joel Schumacher. Val Kilmer was one of Hollywood’s sex symbols in the eighties. In recent years, it has become rarer. After throat cancer, he had to undergo a tracheostomy which damaged his voice. This handicap prevents him from working today. The documentary by Leo Scott and Ting Poo looks back on the beginnings and successes of the interpreter. True and disarming, the film shows, thanks to personal videos filmed by Val Kilmer himself, the other face of a star excessively glamorized by the industry. A star who must now bet on his image of the past. Rarely has an actor revealed himself so much in front of the camera.
Arthur Harari’s Onoda (Un Certain Regard – Opening Film)
Five years after the crime drama Black Diamond, Arthur Harari changes course and register with Onoda, a war film in the Japanese language. And a frank success, impressive mastery. Adapted from an astonishing true story, the feature film follows a young soldier sent to an island in the Philippines in 1944. As his country is losing World War II, it plunges into another conflict, often internal, which will continue. last 10,000 nights.
That the film is long (2:47) is therefore logical, but it is never complacent at this level. And its breadth, combined with the beauty of the images and the landscapes that it films, as well as its way of letting the story breathe so that it becomes one with nature like its hero, brings it closer to these opus that you never see. that too rarely today. Epic, intense and fascinating, the feature film is still gaining strength on the big screen and confirms, if need be, that Arthur Harari is indeed a director to follow very closely.
Ghost Song by Nicolas Peduzzi (ACID – Opening film)
As in Un Certain Regard, it is a Frenchman who opens ACID with a film in a foreign language: Nicolas Peduzzi, who signs his second feature, three years after the documentary Southern Belle, already located in Houston (Texas). As a hurricane threatens the city, the director follows three characters from disadvantaged neighborhoods, torn between their love for music and dreams that seem inaccessible.
If Ghost Song is presented as a fiction, its director adopts a documentary style to take the pulse, in music, of the city in which he plunges us. It certainly takes a little time to get into the story and its energy, but the film seduces over time, when you allow yourself to be completely caught by its long moving shots and its dreamlike atmosphere by its electro soundtrack, while death can strike around every corner, like the lightning that tears the sky in the last sequences.