A week after the announcement of the Official Selection, all the parallel sections of the Cannes Film Festival, which will open Tuesday May 14, are now up to date with their programming. At the helm of the Filmmakers’ Fortnight (emblematized by a superb poster of eggplants signed by the master Takeshi Kitano), undoubtedly the most coveted section, has been officiating since 2023, the general delegate Julien Rejl, who was a long-time distributor in the company Capricci Films.
Claimant “a strong editorial line favoring the singularity of a writing rather than a map of world production”, this year he announces a selection comprising nine shorts and twenty-one feature films. Among the latter stands out a fine French selection which remains fond of the public testing ground offered by the Fortnight. We will have named, at the opening, My life my face, by Sophie Fillières, director of seven unhinged and bittersweet comedies who died in July 2023, at the age of 58. We will find, in this autobiographical opus, Agnès Jaoui and Philippe Katerine.
Let us quote again As his lookby Thierry de Peretti (who continues his intense chronicle of Corsican violence); The Prisoner of Bordeauxby Patricia Mazuy (in which Isabelle Huppert and Hafsia Herzi collide in the corridors of a prison); Eat the Night, by Caroline Poggi and Jonathan Vinel (presented as an apocalyptic romance film); Finally Plastic gunsthird feature film by Jean-Christophe Meurisse, founder of the troupe Les Chiens de Navarre, which will close, apparently with fanfare, the ban of the festivities.
Let us note in passing a welcome opening to cinema in all its diversity (animation, documentary, essay are represented), and two American lines of force in this selection. Coming from the United States, four young people unknown in our latitudes, as well as local independent cinema; and, from Latin America, three films, Argentinian, Brazilian and Chilean.
Asia and teenage friendships
The paths of cinema being mysterious, the expectation of films echoing the great contemporary tragedies – first and foremost the situation in the Middle East and Ukraine – will be disappointed this year at all counters. Genre cinema – from comedy to horror, including thrillers – seems, on the other hand, to be making a comeback. Ava Cahen, the general delegate of Critics’ Week, in charge of emerging filmmakers, presents, for this 63e edition, the thriller The ghostsby Jonathan Millet (on the hunt for Syrian war criminals), in the opening, and the horrific Animalby Franco-Algerian director Emma Benestan (with wild beast and disturbing disappearances).
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