the ups and downs of Cannes – .

the ups and downs of Cannes – .

Cannes (France) (AFP)

With fewer parties, lots of masks and stars regularly having to fill spit tubes for Covid testing, the 74th edition of the Cannes film festival was less glamorous than usual.

But with a backlog of great films and the cinema world thrilled to be back on the French Riviera after its cancellation last year, this has turned out to be a vintage year.

Here are some of the highlights from the world’s biggest cinematic encounter:

– No kisses –

For Cannes, the ban on “la bise” – the double French kiss on the cheeks – sounded like a crime against humanity, and of course, the organizers just couldn’t help it while the gods and movie goddesses approached the red carpet.

Jessica Chastain and Carla Bruni were among those who received a very public peck on opening night, and there was even more fury over social media images of unmasked spectators, triggering a reinforcement of the Covid rules.

Regular testing and vaccine passes seem – fingers crossed – to have kept the festival from becoming a big-ticket event.

Some foreign visitors, however, were grossed out by the necessary sputum tests every 48 hours – or struggled to provide what was needed.

“’It’s not spitting enough, sir,’ the test lady told me sternly,” Guardian film critic Peter Bradshaw recalled.

– The stars are born –

Everyone’s fallen a little in love with Renate Reinsve, the 33-year-old Norwegian star of the joyful and heartbreaking ‘worst person in the world’ on a young woman who makes her way through love and life.

Unknown before Cannes, the cavalcade of rave reviews left Reinsve overwhelmed: “The other day, I woke up and threw up. And today I woke up and cried, ”she told AFP.

# photo1Vicky Krieps from Luxembourg also made a breakthrough. Already known from “Phantom Thread” a few years ago, she confirmed her star status on the Croisette with two more performances. She also has a series of big budget movies coming up.

– Lesbian movies –

Lesbian movies definitely have a moment, but in a very different way.

Paul Verhoeven, the Dutch director behind “Robocop” and “Basic Instinct”, brought his usual level of subtlety to the lesbian nun drama “Benedetta”, which will no doubt be best remembered for the sake of Virginia Efira and Daphne Patakia. ‘a Virgin. statue of Mary.

This is nothing compared to the craziness seen in the serial killer “Titanium,” though the main character’s interest in women may be overwhelmed by the fact that she manages to get pregnant with a vintage Cadillac. .

# photo2 Homosexual relations also figure – in a little more ordinary way – in two well-received applications for the competition: “Compartment n ° 6” from Finland and the beautiful character study “Paris, 13th arrondissement” by Frenchman Jacques Audiard.

– Bad dads –

Sean Penn starred alongside his real-life daughter Dylan in “Flag Day” about an unnecessary deadbeat dad, one of many who have popped up in this year’s Cannes selection.

In “Stillwater,” Matt Damon’s Trump-country oil rig worker has good intentions but makes terrible decisions as he tries to help his daughter who is locked up for murder in Marseille.


“The Worst Person In The World” had a terrible father, while “Titanium ”’s father faces a particularly brutal appearance for his bad behavior.

– Music on film –

The music industry was well represented this year, starting with the opening film “Annette,” which starred Adam Driver and Marion Cotillard in perhaps the strangest musical of all time, written by the legendary Los Angeles pop duo Sparks.

Grammy-nominated hip-hop artist Freddie Gibbs provided another unexpected entry with his debut film “Down with the King” about a rapper who is trained in pig skinning and cattle ranching in America. rural.

American director Todd Haynes won praise for “The Velvet Underground,” a documentary about rock legends of the 1960s.

And for lighter relief, there was Celine Dion’s mellow biopic “Aline: The Voice of Love”. Critics were divided on whether this unassuming tale from the Canadian megastar was a “heartfelt and touching tribute” or “so pointless as a film that you can only see it as an extravagant piece of concept art” .


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