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In Cannes, favorites from the East and the eternal Godard

Ⓒ AFP – Valery HACHE – | Japanese director Hirokazu Kore-Eda, in Cannes on May 14, 2018

Moving Japan, Soviet rock, Polish folklore, eternal China, and Godardian puzzles: halfway through the Cannes Film Festival, some favorites stand out in the race for the Palme d’Or, waiting for the new Spike Lee unveiled Monday night.

– Cape to the east –

If no film has put KO critics in the early days, “A Family Affair” of the Japanese Hirokazu Kore-Eda, which the press discovered on Monday, “Cold War”, romance against the backdrop of the Pawel Pole’s Cold War Pawlikowski or “Summer” (“Leto”), portrait of the Soviet undergound rock scene of the Russian Kirill Serebrennikov, seduced. Just like “Three Faces” of the Iranian Jafar Panahi.

“A Family Affair”, moving family story, made the hearts of more than one people capsize. “Just beautiful”, for Xan Brooks of the British The Observer, it is the “best Kore-Eda for years” for David Ehrlich of the American site Indiewire. For Fernand Denis of La Libre Belgique, “Kore-Eda regains its level of + Nobody Knows + and La Palme”.

Also well placed, “Summer” has excited the French press: six of the fifteen reviews of a panel published by the professional magazine The French Film give it the maximum score. The spell also affects a part of the international press: “wild, swirling and often confusing” for Variety, “requiem full of going for the rock scene of Leningrad”, according to Indiewire. The film, however, is not on the podium of the panel of ten international critics of the journal Screen.

Ⓒ AFP/Archives – Valery HACHE – | Polish director Pawel Pawlikowski, in Cannes on May 11, 2018

A new film by the Oscar-winning director of “Ida”, “Cold War” has also been popular. In France – “heartbreaking love story” for Les Inrockuptibles, “moving” and “beautiful” for Télérama – as abroad: “deliciously fresh” for the British The Guardian, while Screen praises its achievement “brilliant and sophisticated “. The Screen panel awards him his second best score, tied with “The Eternals” of the Chinese Jia Zhangke.

This portrait of an abandoned woman and China is “a great romantic fresco” with “a work on the totally insane image”, according to the critic of Positive film magazine Philippe Rouyer. It’s “an often brilliant drama” for Peter Bradshaw of the Guardian.

The last installment of the elusive Jean-Luc Godard, “The picture book”, considered hermetic by some, also has its followers. If five critics on fifteen of the panel of the French Film do not like it “not at all”, the French daily Libération deems it “explosive and staggering”. And, surprise, Screen’s international panel gives him his best rating.

– Actresses noticed –

Some actors, especially actresses, have been noticed in a festival where, vague #MeToo requires, a special attention is paid to women.

Ⓒ AFP/Archives – Laurent EMMANUEL – | Polish actress Joanna Kulig, in Cannes on May 11, 2018

Among them, the Polish actress of “Cold War”, Joanna Kulig, stands out with her performance of singer and dancer in prey to a complicated love. For Le Figaro, “she could leave with a prize” while for Screen, his game is “striking”.

Another well-known actress is Zhao Tao, a Chinese actress and wife of filmmaker Jia Zhangke. She is “a serious candidate for interpretation prize” for Libération, and she “surpasses herself in a role of bewitching complexity,” according to Variety.

On the men’s side, France’s Pierre Deladonchamps and Vincent Lacoste have been hailed by the French press in Christophe Honoré’s “Plaire, aimer et cour vite vite” – “two actors in a state of grace”, according to Les Inrockuptibles. Telerama also found the young Adriano Tardiolo “enthralling” in Italian Alice Rohrwacher’s “Happy as Lazzaro”.

– Spike Lee and Garrone coming –

Ⓒ AFP – Anne-Christine POUJOULAT – | Belgian actor Victor Polster and Belgian director Lukas Dhont (d), in Cannes on May 13, 2018

Until then, the big shocks of the festival were rather in the parallel sections, where first films made the buzz.

Among them, the revelation “Girl”, the Belgian Lukas Dhont, story of a future ballerina born boy (A certain look) or “Wild” of the French Camille Vidal-Naquet, in the world of male prostitution (Week of the critical). Without forgetting the explosion “Climax” of Gaspar Noé (Directors’ Fortnight).

Until Saturday, and the announcement by the jury of Cate Blanchett, several heavyweights can change the game, the veteran Spike Lee, back with “Blackkklansman” to the Italian Matteo Garrone, with “Dogman”.

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