"Dylda", "Parasites" And 8 More Main Films Of The 72nd Cannes Film Festival

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"Dylda", "Parasites" And 8 More Main Films Of The 72nd Cannes Film Festival
"Dylda", "Parasites" And 8 More Main Films Of The 72nd Cannes Film Festival

Video: "Dylda", "Parasites" And 8 More Main Films Of The 72nd Cannes Film Festival

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Video: Лучшие фильмы 2019 | Новогодний топ | [ТАХТА-ЧАРТ] 2023, January

Cannes Film Festival ends safely And this year, traditionally, was not without excesses: the awarding of Emily Beecham for the best actress in "Little Joe" aroused many questions, and the honorary Palme d'Or for Alain Delon caused a storm of indignation among feminists. Mastodons Terrence Malick, Quentin Tarantino, Pedro Almodovar and Jim Jarmusch presented their new works, but the most interesting (as is often the case in Cannes) were the pictures of lesser-known filmmakers. We've picked ten films in addition to the obvious favorites to watch out for.

Text: Dina Klyuchareva



Producer: Kantemir Balagov

The second film by Kantemir Balagov won two prizes at once in Cannes - for the best director in the "Uncommon View" section and the FIPRESCI Prize. The main source of inspiration for Balagov was Svetlana Aleksievich's book "The War Does Not Have a Woman's Face" - some of the details in the film are almost literally copied from its pages - and his co-author on the script was the writer Alexander Terekhov, winner of the "Big Book" prize for the novel "Stone Bridge ".

In the center of the story are two Leningrad women, broken by the Second World War. The awkward lanky Oya works as a nurse in a military hospital, around her crippled, but surviving war veterans. At home, little Pashka is waiting for her, who is being looked after by a neighbor. Soon Masha returns from Berlin, Iya's fighting friend, lively, energetic and cruel, Pashka's real mother, who survived at the front, as she herself says, "with the help of one place." Their relationship - strange, complicated, close - became the reason for the nomination "Dyldy" for the LGBT prize of Cannes "queer palm".

“The second film and the second prize in Cannes (in 2017 Balagova's“Tightness”also took the prize. - Approx. ed.) - this is a serious success even for venerable directors, and for a twenty-seven-year-old director - this is an outstanding achievement ", - Alexander Rodnyansky, producer of" Dyldy "rejoices for Balagov.


Invisible life

A Vida Invisível

PRODUCER: Karim Ainuz

A colorful, emotional Brazilian drama about two separated sisters won the main prize of the "Unusual View" program. It is not by chance that one of the heroines is called Eurydice - the whole film turns into her search. A profound tragedy with pronounced feminist overtones and a detailed and unadorned portrayal of women's lives in macho culture has earned rave reviews from audiences and film critics alike.

Sisters Eurydice and Gvida live in a conservative patriarchal family in Rio de Janeiro in the 1950s. Their domineering and rude father does not want to listen to their desires, but the sisters support each other: Eurydice covers Gvida during her nightly adventures with the guys, and Gvida encourages the talented pianist Eurydice to audition for the Vienna Conservatory. One day Gvida runs away from home with a Greek sailor, promising in a letter to return married, but returns alone and pregnant. The stern father kicks out the prodigal daughter and reports that her sister has left for Vienna. Gvida finds refuge in the house of the former sex worker Filomena and writes endless letters to her sister in Europe, not suspecting that she lives in an unhappy marriage very close - so close that one day they warm up in a cafe for just a couple of seconds.


The sun never sets

O que arde

PRODUCER: Oliver Laxe

Laxe already has two Cannes awards, and the director did not leave without new ones this year. His latest film, which won a jury prize in the "Unusual Regard" program, is definitely worthy of attention: it smoothly evolves from a hypnotic pastoral picture at the beginning to a loud crescendo at the end, and this reminds of last year's Cannes favorite - the South Korean film "Burning".

Exhausted, dark-eyed Amador returns home from prison, where he spent two years for deliberately setting fire to a forest, which almost burned half of the mountain. On a tiny farm with three cows, Benedict's elderly mother, laconic and strong-willed, awaits him. Mother and son live a simple life and stay away from the locals - until they meet with friendly veterinarian Elena, who left the region long ago and knows nothing about Amador's past. But the idyll is not destined to come, and it happens as the name predicts (in the European version it is translated "And fire descends"): the fire returns and again destroys almost all living things. Interestingly, the director chose non-professional actors from the village in Galicia, where his parents live, and the leading actor himself once worked as a forester.




PRODUCER: Bong Joon Ho

The first Palme d'Or for South Korea to receive a fifteen-minute standing ovation after the show. And this is far from the first notable film directed by Bong Joon Ho - his track record already includes, for example, Okja, a futuristic drama about saving a giant pig, and the post-apocalyptic thriller Through the Snow, where a desperate Chris Evans hacks into the train locomotive in search of salvation and truth. His "Parasites" is a non-Cannesian brisk and fascinating story about the confrontation between two families, rich and mendicant.

Poor people - father, mother, son and daughter - survive as best they can: they live in a basement apartment and earn money by assembling cardboard boxes for a pizzeria. One day a friend asks his son to replace him as a tutor in a wealthy family. He, quickly organizing a fake diploma for himself, gets into the luxurious house of the Pak and decides to attach his whole family here to work - and this is how this dashing and multidimensional story, a drama-thriller-tragicomedy about social stratification and need, resourcefulness and naivety, a sense of one's own dignity and helplessness before the irrepressible element.


I lost my body

J'ai perdu mon corps

PRODUCER: Jeremy Clapin

Perhaps the most amazing premiere of the festival is the full-length animated film by Jeremy Clapin, in which the story is told from the name of a severed hand looking for its owner. The rights to show the cartoon drama about loss - both physical and emotional - have already been bought by Netflix.

The lost palm is looking for Naufel, his young master, a native of North Africa, who grew up a happy child until his parents died in a car accident, and he was forced to go to be raised by his evil uncle in Paris. Naufel works as a pizza delivery boy and does not make plans for the future, until one day he delivers pizza to cute, clever Gabrielle. To win her heart, he decides to take up his mind and gets a job as a carpenter for her uncle - and literally takes life in his hand - while the other hand searches for him alone through the city, overcoming terrible and dangerous obstacles (for example, skirmishes with hungry pigeons and rats) …




PRODUCER: Annie Silverstein

Annie Silverstein's debut feature-length film (who already has a Cannes short film award) explores the well-known genre of "two homeless souls find solace in each other", but strikingly manages to bypass all traditional clichés and not fall into excessive sentimentality.

The two lost souls here are a teenage girl and a seasoned rodeo rider who live next door in the suburbs of Houston. Fourteen-year-old Chris looks after the house and cares for her diabetic grandmother and younger sister in utter poverty while her mother is in prison. For obvious reasons, Chris is a rebellious teenager, and in order to impress her classmates, she once breaks into the house of Abe, a former bull tamer, and smashes everything inside. Furious, Abe calls the police, but agrees to withdraw the charge on condition that Chris will help to put things in order (to which she wearily asks: "Can I just go to jail?").Working side by side for several days, they become each other's escape from the usual routine. Chris shows an interest in rodeo, and Abe gives her her first lessons - but, fortunately, the film here does not use the conventional trope about a new hobby or student as a saving way from poverty and despair to the light.



Une fille facile

Producer: Rebecca Zlotowski

A relaxed growing-up drama filled with the soft sunshine of southern France and an atmosphere that evokes the "Elusive Beauty".

Sixteen-year-old Naima is spending her holidays in Cannes, where her whole family works part-time in one of the expensive hotels. Naima does not want to work, but wants to spend time on beaches and parties - this desire becomes stronger when her twenty-year-old cousin Sofia appears on the horizon. Glamorous, relaxed, with an "ideal" body in expensive jewelry and revealing dresses, Sofia spends time with wealthy adult men, does not hide and is not ashamed of her challenging lifestyle. She gives her cousin a Chanel bag and invites her on a yacht to her friend, where Naima learns how the notorious one percent of the richest people on the planet live.

Sofia was played by the French model and former muse of Karl Lagerfeld Zahia Dehar, who was involved in a real escort scandal with the French national football team in 2011. She and her heroine have a lot in common - they both do not hesitate to play the role of a beauty, onto which men can project their own fantasies. Her Sophia takes everything from life as long as her appearance allows, and tries to get pleasure from it. It is important that the director Zlotowski deals with the slippery theme of ostentatious femininity in exchange for money andts very carefully and without judgment.


Portrait of a young woman on fire

Portrait de la jeune fille en feu

Producer: Celine Schiamma

Brittany, 1760. The young artist Marianne is commissioned to paint a portrait of Eloise, the daughter of a wealthy aristocrat and a girl of marriageable age. But Eloise is obstinate and does not want to get married, so Marianne is forced to pretend to be a companion and paint a portrait in secret - first in her head, noticing the nuances of Eloise's facial expressions and figure, and then transfer these impressions to the canvas. Spending time together, the girls get closer, and their awkward acquaintance develops into an ardent story of two people in love who cannot lose a minute of the time that they were given next to each other.

The sensual costume drama won the queer palm at the festival and the prize for the best script in the main competition - which is not surprising: "Portrait" is well placed in a row with "Tomboy" and "Water Lilies" - the previous equally successful films of Schiamma, who scrupulously researches the topic of awareness of one's own sexuality and the freedom to manifest it.


Young Ahmed

Le jeune ahmed

Producer: Jean-Pierre and Luc Dardenne

As always in their films, in "Young Ahmed" the Dardennes explore an acute social problem - this time about how vulnerable and influenced by a young fragile mind and how elusive the line between the parental desire not to restrict the freedom of the child and at the same time not to let it go out of sight. Critics have already managed to accuse the Dardennes of insufficient knowledge of the topic of Muslim extremism and a superficial portrayal of a hero without any background, but the jury did not embarrass these attacks, and the film won the prize for best directing in the main competition of the festival - and the seventh Cannes award in the brothers' piggy bank.

Thirteen-year-old Ahmed lives in Belgium with his mother, brother and sister. At school, he learns Arabic, and spends his free time in a mosque, where an extremist imam puts the ideas of radical Islamism into his head and prepares for jihad. Ahmed reads namaz, tries not to touch the dogs, freely interprets the Koran and despises the “unbelieving” Muslims around him - he accuses both mother and sister of sinful behavior, and attacks the teacher with a knife.However, due to his early childhood and lack of death, the victim Akhmed is not taken to court and sent to a correctional institution for minors, where he, despite conversations with a psychologist and a rehabilitation program, stubbornly plans to complete what he started.


Port Atority

Port Authority

Producer: Daniel Loessowitz

Screenwriter / director Danielle Loessowitz's first feature-length work received a lot of attention (Martin Scorsese is mentioned as executive producer and Matthew Herbert wrote the soundtrack) and earned warm critical reviews. Due to the complexity of the topic, the casting of non-professional trans-community actors took a year - they were searched for using Instagram and Facebook.

The name "Port Authority" is the bus stop from which many movie characters took their first steps into a new life in the big city, and the main character of the film named Paul (Finn Whitehead from "Dunkirk") is no exception. A naive Midwesterner, he steps onto the chipped asphalt of New York, expecting to see his half-sister meet him, but instead he notices a motley group of dancers rehearsing vogue nearby - among them the brightly attractive Wye, a native of Harlem.

After wandering around the city's backyards, he finds himself a cheap dwelling, where several more people live, and one of them is a dancer from the group at the station. One evening Paul secretly follows him and finds himself on the doorstep of an underground ball (the same one shown in the TV series "Pose"), where people compete in the art of dancing and posing with aplomb. At the entrance, it is deployed - a white redneck has no place at the ball, but Wye saves the situation, who recognizes and lets him in. They develop an affectionate relationship, and for the first time in his life of loss and loneliness, Paul feels at home. Until he finds out that Wye is a transgender woman, and all his foundations and prejudices are shaken.

PHOTOS: Diaphana Films, Hulu, Ad Vitam Distribution, CJ ENM Corporation, Barunson E&A, Charade Films, Pola Pandora Filmproduktions, 4A4 Productions, Bert Marcus Productions, Pioneer, Madeleine Films, MUBI

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