The panorama is now complete, if we exclude the few additions that Thierry Frémaux can still make in the official selection. Cinema veterans come in large numbers, but the selection may promise some surprises. Italy and America, sometimes the two together (Martin Scorsese is announced on the Croisette), but also Africa carve out the lion’s share. The Quinzaine des Cinéastes has just rolled out its list. Fortnight of Filmmakers, and no longer of Directors, as it has been called since its creation in 1969. The parallel selection, which claims audacity and great freedom in its choices, has changed its surname for more… “inclusiveness”. The selection committee also has a new general delegate. The Frenchman Julien Rejl, former critic at So Film, took over the reins from the hands of the Italian Paolo Moretti, who stayed for four years. Note that the Fortnight does not award prizes.
His selection, therefore. As an opening, Cédric Kahn comes to Cannes, twenty-two years after presenting Roberto Succo in the official selection, with a film on the Pierre Goldman affair. From the name of this far left personality, robber and author of a singular book. Accused of a double murder during a high-profile trial, he was cleared in 1976, three years before his assassination. Michel Gondry, who has not released anything since 2015, presents Le Livre des Solutions. In this feature film made of depression and humor, Pierre Niney will give the reply to Blanche Gardin.
Most of the selection of nineteen films is centered on discoveries, with in particular an Indian drama on the repression of sexuality (Agra), an independent Russian road movie shot in 2021 (La Grâce) or a Belgian film -Cameroonian on the journey of a courageous mother (Mambar Pierrette)… The Pakistani thriller In Flames could be a good surprise. American cinematographer Sean Price Williams moves on to direct with The Sweet East. Shown in special screenings, Val Abraham was directed by Manoel de Oliveira in 1993. Inspired by Flaubert’s Madame Bovary, it is imbued with a muted sensuality.
The Goldman trial of Cédric Kahn – opening film
Val Abraham by Manoel de Oliveira – Séance speciale
Agra de Kanu Behl
The other Laurens by Claude Schmitz
Inside the Yellow Cocoon Shell de Thien An Pham – premier long métrage
Blackbird Blackbird Blackberry de Elene Naveriani
The Grace of Ilya Povolotsky – first feature film
Conann by Bertrand Mandico
Created by Elena Martin Gimeno
Deserts of Faouzi Bensaïdi
In Flames by Zarrar Kahn – first feature film
League of Filipa Reis
Michel Gondry’s Book of Solutions
Mambar Pierrette by Rosine Mbakam
Weston Razooli’s Tale of Fire – first feature film
The Feeling That the Time for Doing Something has Passed de Joanna Arnow – premier long métrage
The Sweet east de Sean Price Williams
A Prince by Pierre Creton
To Song Sung Blue by Zihan Geng – first feature film
In Our Day de Hong Sang-soo – film de clôture
Critics’ Week returned its sheet on April 17. This other parallel selection brings together first and second films only. Seven films are competing this year. There is only one from France, Le Rapissement, a psychological thriller by Iris Kaltenbäck. We will closely follow Jam Sleep by Jason Yu, who was Bong Joon-ho’s assistant director. With Ama Gloria, Marie Amachoukeli signs her first solo feature film – she was part of the trio of directors of Party girl, which had the golden camera in 2014. It will be the opening film. In closing, the Week will show Erwan Le Duc’s second feature film, Her Father’s Daughter. His first, Perdrix, in 2019, was a success.
