“The Lighthouse” is a gripping and turbulent drama that’s very much its own gothic historical ominoso art-thriller thing. The explanation — if not justification — was simple: The movie felt like too much of a genre film, which doesn’t clear the bar of the Cannes “class” factor.
Publié le 14/05/19 mis à jour le 15/07/20. Over the course of 72 editions, the Palme d’Or has only once been awarded to a female director.
Adding further layers to this beguilingly ambiguous work of autofiction, Almodóvar casts an actor whose career was launched by his early films, Antonio Banderas, as a director seeking reconciliation with one of his estranged stars, inviting audiences to speculate about where the line between imagination and reality lies. Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. To learn this intimate detail about Almodóvar at this point in his career adds a surprising insight into the rest of his filmography, which is made richer by this movie.
Alejandro G. Iñárritu served as President of the Jury for the main competition. Céline Sciamma’s fourth feature — and her first to screen in official competition — is every bit as strong as that previous winner, 1993’s “The Piano.” Embracing an entirely different kind of period romance, Sciamma takes as her subject the dynamic between a late-18th-century female artist (Noémie Merlant) and her muse (Adèle Haenel), examining what it means for women to find themselves on both sides of the artistic process: represented in painting, but also included in the process of making it. Publié le 21/02/19. No question, Dupieux’s work is an acquired taste, although he does audiences a favor here by casting Oscar-winning “The Artist” actor Jean Dujardin as a middle-aged loser convinced that buying a wildly out-of-fashion fringed leather jacket will improve his self-image. More more on this story. It was overwhelmingly the most anticipated movie of the festival, driven by a single hope: Could this be one of those Quentin Tarantino movies that enters your bloodstream like a drug, where every moment is marked by a certain ineffable For those who remember the days when Pedro Almodóvar was thought of as a rebel, rather than a respected Spanish auteur, “Pain and Glory” represents the full bloom of a decades-long maturation process. But can the disembodied limb find its way back to the person from whom it’s been separated? By the time the 72nd annual Cannes Film Festival concludes, it’ll have debuted new films from Pedro Almodóvar (Pain and Glory), Bong Joon-ho (Parasite), Terrence Malick (A Hidden Life), Ken Loach (Sorry We Missed You), Céline Sciamma (Portrait of a Lady on Fire), and so much more.Jim Jarmusch opened the fest with his unexpected zombie hang-out comedy …
... (Nan Fang Che Zhan De Ju Hui), thriller chinois de Diao Yinan, 1h53. The 72nd annual Cannes Film Festival ran from 14 to 25 May, 2019.
Vous êtes ici Accueil Numéro 21 (2019) A Cannes, deux films chinois sous les projecteurs. Wikipedia: 2019 Cannes Film Festival. Et des informations qui n'y sont pas toujours accessibles.
24 mai 2019. Avec Ge Hu, Tang Wei et Liao Fan. At 82, the British director Ken Loach is making films that connect, with a nearly karmic sense of timing, to the social drama of our moment. “Sorry We Missed You” is about a stressed-out family trying to make a go of it in the gig economy, and like Loach’s 2016 Palme d’Or winner “I, Daniel Blake,” it’s another intimate and powerful drama about what’s really going on in people’s lives — not just in England, but all over the world. Actually, he’s become an indentured servant. Mais comment ferait-on sans"Excellent média, indépendant, concis et percutant.
Just one year after Asian masterpieces “Shoplifters” and “Burning” premiered in competition at Cannes, South Korean director Bong Joon-ho (“The Host”) showed up with this dynamite thriller, which so spookily subverts both films that it almost feels like a calculated response.