Every day, AlloCiné’s editorial staff summarizes the films seen during the 75th Cannes Film Festival. Today: “3000 years waiting for you” by George Miller, “A beautiful morning” with Léa Seydoux, and “Brother and sister” with Marion Cotillard.
Three Thousand Years Waiting for You by George Miller (Out of Competition)
On a trip to Istanbul, Alithea (Tilda Swinton) acquires a blue bottle in a Turkish bazaar. Arrived at her hotel, she discovers that the object contains a djinn (Idris Elba). To preserve his freedom, he must grant three of his wishes, but that does not seem to impress the woman in front of him. To convince her, the genie will tell her about his past, thousands of years ago.
There are two movies in one Three thousand years waiting for you. The first is behind closed doors: the spectators witness the meeting between the two heroes, locked up in a hotel room. The second is a fantastic adventure, visually inventive with many special effects, where creatures meet figures from mythology, such as the Queen of Sheba or King Solomon. George Miller goes to the end of his concept, even allowing himself a few absurd turns, without ever falling into ridicule.
Thomas Desroches
Brother and sister of Arnaud Desplechin (Competition)
Dispute, it is still a question here. But in the family sphere, as in A Christmas Tale. With perhaps even more violence and words that hurt while we play a role to keep up appearances. On stage for her, actress. In public for him, teacher turned writer. But where does this a priori irremediable hatred between Alice and Louis come from? Can a tragic event allow them to reconnect with each other?
From its opening scene, Brother and Sister strikes hard and announces the color, very dark, of what is to follow. But the sequel only manages to live up to it in small touches. When the two main characters are confronted with the accident of their parents for example. If he quickly puts words to the origin of the break between Alice and Louis, with his very marked literary style, Arnaud Desplechin will be able to disappoint with the resolution, despite the raw compositions of Marion Cotillard and Melvil Poupaud.
Maximilien Pierrette
A Beautiful Morning by Mia Hansen-Love (Directors’ Fortnight)
Under the direction of Mia Hansen-Love, the icon Léa Seydoux is unrecognizable, a normal mother, a woman of duty and no longer an object of desire, a heroine torn apart by her contradictory emotions. At his side, Pascal Greggory is stunning, in the skin of this diminished ex-philosopher, whom his brain and then his body have let go.
A story of mourning that the director has personally experienced, which also speaks of transmission and renewed awakening. Special mention to Nicole Garcia, in the shoes of a pragmatic, funny and committed mother.
Laetitia Ratane
Le Petit Nicolas by Amandine Fredon & Benjamin Massoubre (Special Screenings)
Described as a hymn to childhood and subtitled “What are we waiting for to be happy?”, the feature film is therefore a film about Le Petit Nicolas coupled with a tribute to its creators, and to comics in general. All in a visual style ultra-faithful to that of its model, which is sure to delight fans, young and old. But this alternation between the two levels of stories would have required a more sustained rhythm, because the passage from one to the other makes the whole uneven at times even if the emotion wins in the end. And that the result, as the hero would say, is above all “funny owl”.
Maximilien Pierrette
The Night of 12 by Dominik Moll (Cannes Premiere)
Despite the harshness and violence of the murder at the heart of the investigation – the story of which is based on part of Pauline Guéna’s book “18.3 – a year at the PJ” -, La nuit du 12 is imbued with a real sweetness and great sensitivity that emerge from its main performer Bastien Bouillon. As the list of suspects grows, the investigation will deeply mark the policeman in his flesh and question him about the world around him and the permanent violence against women.
Each stage of the investigation jostles him a little more and also turns us around to leave us with a bittersweet taste and a feeling of helplessness in the face of the singularity and fascination that an unsolved criminal case represents. Thanks to a fine writing, a hypnotizing staging and a sincere and involved cast, La nuit du 12 turns out to be a sensitive, visceral and captivating thriller.
Megane Choquet
Bodice by Marie Kreutzer (Un Certain Regard)
But she is also in the rebellion phase, lying on the ground, smoking and even insulting, ready to flee and fleeing at any time. Iconoclastic and feminist, this fantasized portrait of the Empress of Austria is quite simply delightful, embodied by an explosive Vicky Krieps, who hasn’t finished blowing us away.
Laetitia Ratane
There are always two faces. The director Marie Kreutzer leaves aside the radiant Sissi, illustration of the perfect princess. She prefers the rougher, nonchalant Sissi, who constantly has to deal with judgments about her weight and age. Oppressed, the Empress stands up. She disobeys, invents discomfort, like a teenager at war with authority.
In this new version of Sissi, Vicky Krieps confirms his great talent. She transforms a character known to all and revisited many times to offer another reading, which fits perfectly into our time. Impossible not to think of the rock’n’roll portrait of Marie-Antoinette signed by Sofia Coppola in 2006, but the filmmaker offers a style that is always personal and not without humour.
Thomas Desroches
Goutte d’or by Clément Cogitore (Critics’ Week)
For his second feature film after the fascinating war film Ni le ciel, ni la terre, Clément Cogitore, also a visual artist, changes his universe and immerses us in a noir and urban film with Goutte d’or. Its plot, rich in twists, surprises and captivates at all times. Karim Leklou (seen in Bac Nord and Le Monde est à toi) impresses in this dense and exciting role. We should also underline the plastic beauty of the film: Paris is filmed there as rarely, with very beautiful nocturnal shots. Release: soon.
Brigitte Baronet
El Agua by Elana Lopez Rivera (Directors’ Fortnight)
El Agua, carried by the incandescent Luna Pamies, whose first role in the cinema, gave us to see a story of popular belief, of which we cannot say if it is pure fiction or inspired by real events. The director explains that these stories had been told to her by her grandmother. “It’s a fiction that I grew up with. I believed my grandmother because she told me about it”, explained the director on the stage of the Directors’ Fortnight.
Filmmaker Elena Lopez Riera explains that she “grew up with these mythologies, with this kind of love-hate water and everything that goes with it”. “I was lucky to be raised by women like that and women I met,” she adds. The form of the film is interesting on several counts, in particular for its insertions of sequences face-camera with women evoking this popular belief. The love scenes between the characters of the heroine Ana and José are also very beautiful. Release: soon.
Brigitte Baronet