It’s the last one, let’s be crazy! In this 54e edition, the equation was not simple for the general delegate of the Directors’ Fortnight, Paolo Moretti, appointed in 2018, he learned, in September 2021, that he would not be reappointed, the board of directors newly elected member of the Society of Film Directors having expressed his wish to “rethink in depth” the Fortnight – the name of the new General Delegate will be known after the Festival.
At the time of handing over the keys, the programmer signs a free and festive 2022 edition. One of the strong trends will have been the place given to so-called “feminine” films, with certainly strong subjects, but which sometimes take precedence over cinema. Take, for example, God’s Creaturesby Saela Davis and Anna Rose Holmer, on the issue of rape, with Emily Watson.
The 2022 edition will have been that of clearing the ground, with seven first feature films – eligible for the Caméra d’or –, most of which have made the judicious choice of form, taking precedence above all else: Pamfir, from the Ukrainian Dmytro Sukholytkyy-Sobchuk, with the powerful staging, in a spiral, engulfing a man in contraband; El Agua, by the Spaniard Elena Lopez Riera, bewitching portrait of a young girl and a region, Valencia, haunted by legends; 1976, from the Chilean Manuela Martelli, a thriller distilling its suspense on the Pinochet years, with the Hitchcockian heroine Aline Küppenheim; The dam, by the Lebanese visual artist Ali Cherri, a sensory portrait of a Sudanese worker; a varon, Colombian Fabian Hernandez, clinging to the masculinism of a young boy in Bogota, exposed to the dangers of the street; Falcon Lake, of the Quebecer Charlotte Le Bon, not very surprising, but whose libertarian spirit renews the genre of teen movie ; finally Funny Pages, by New Yorker Owen Kline, an explosive performance on the underground universe of comics and comicswith its sharp hero, carried by the young Daniel Zolghadri.
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The top of the trashy ladder was reached by the film Will-o’-the-wisp, by the Portuguese Joao Pedro Rodrigues, with his two irresistible firefighters in love – a black (André Cabral), a white (Mauro Costa) – revisiting the colonial past of their country, in the style sex and fun. The Swiss Lionel Baier, known for his art of the shift, presses a little too much on the pencil by telling the ambient cynicism, on the question of refugees, in Continental Drift (to the south), even if the film reveals the excellent Théodore Pellerin, with the false airs of Buster Keaton.
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