It’s the Croisette depression. The Dardenne brothers’ cinema is a prisoner of its system. It has been reduced to its most basic (and simplistic) form. The cinema of the Dardenne brothers, held captive by its system and reduced to its simplest (simplistic?) form While the showbiz world applauds and congratulates one another, the National Cinema Center (CNC), has commissioned a report on the dire situation in theaters (-55% of spectators between 2019 and before the Covid)
Although the reasons are well-known, here’s a look at their influence on the following: Loss of habit (38%), high ticket prices (36%), wearing the prohibitive mask (33%), preference to the home cinema (36%), preference for platforms (26%) and a lack of appeal in the films (23%).
So we wondered which French films among the festivals announced could inspire people to go back to the cinemas. Dany Boon with Francois Ozon for the first time, along with Fabrice Luchini, Isabelle Huppert in “Madeleine”, a film about which the subject remains mysterious. The adaptation of Vanessa Springora’s novel, “Le Consentement”, was done by Vanessa Filho (“Gueule d’ange”) with Kim Higelin as Springora, Laetitia casta as her mother, and Jean-Paul Rouve playing Gabriel Matzneff. Pierre Schoeller’s thriller “The Exercise of State” revolves around nuclear engineers. Mathieu Amalric and Sandrine Kiberlain are joined by Denis Podalydes in “Rembrandt”.
Emir Kusturica’s new film “Crime No Punishment”, which is a contemporary version of Dostoyevsky’s “Crime and Penishment”, was shot between Paris and Belgrade. Daniel Auteuil also contributed. The survival story is taken from “Suddenly, alone” by Isabelle Autissier. It was signed Thomas Bidegain (“the Cowboys”) with Gilles Lellouche (and Melanie Thierry). Or, as the star of international sales, the 1970’s eroticism classic, “Emmanuelle”, which was transposed to the MeToo era of the MeToo era of Audrey Diwan (“the Events”) – and Rebecca Zlotowski (on the screenplay – for Lea Seydoux). It would be remiss of us not to mention Wim Wenders’ project on Japanese public toilets. We are already dreaming about it. “The Gogues of Desire?” “Latrines in cities?” “Tokyo Caca Social Club”?
Joking aside, there’s a film in the selection that should be a huge success. It is “The Innocent” from Louis Garrel. This film was screened Tuesday out of competition for the evening’s 75th anniversary. This year, the actor-director has been omnipresent in Valeria Bruni Tedeschi’s “Almond Trees” and Pietro Marcello’s “Envol” at the Directors’ Fortnight. His comedy is lively, funny, and touching. It revives the spirit and wit of Pierre Salvadori or Claude Lelouch, and also digs a new furrow. Fi of the apriori, the former young dark first Parisian authorism seeks to the mainstream with a desire for sharing and thunder distribution (Roschdyzem, Noemie Merlant, and Anouk Grinberg). On October 12, theater lovers should not be ashamed of their love.
His first feature film, “Falcon Lake”, was presented at the Directors’ Fortnight. It was shot in 26 days. The script was adapted from “A Sister” by Bastien Vives. Charlotte Le Bon, a fiery actress with an incredible sense of the frame, invades American spaces, takes it where no one expected and imbues its own personality. Check out our interview.
Bastien (15 years old) came from France to experience sexual awakening. He was with his family to celebrate the holidays. Bastien is seen at the edge of a Canadian lake, where a ghost is believed to be lurking.
