Monday, May 23, 2016

The Gazette de la Croisette # 12: and two for Ken Loach – The World

The British filmmaker Ken Loach and his  Palme d'Or for his film

Anyway, crowning Ken Loach for Me Daniel Blake , the jury, chaired by Australian filmmaker George Miller, allowed the British, already winner of a golden Palm for the wind That Shakes in 2006, joining the circle of filmmakers double webbed: Swedish Alf Sjöberg to the Event (Grand Prix, former Palme d’or, 1946, tied with ten other films) and Miss Julie (1951, tied); American Francis Ford Coppola for The Conversation (1974) and Apocalypse Now (1979, tied); Shohei Imamura for the Japanese The Ballad of Narayama (1983) and The Eel (1997, tied); Serbian Emir Kusturica for When Father Was Away on Business (1985) and Underground (1995); Dane Bille August for Pelle the Conqueror (1988) and The Best Intentions (1992); Austrian Michael Haneke for The White Ribbon (2009) and Love (2012); Belgian brothers Jean-Pierre and Luc Dardenne for Rosetta (1999) and The Child (2005).

Projected Saturday 21 May, when last day of the Cannes competition, the Iranian Asghar Farhadi film, Customer ( Forushande ), was twice awarded the Best screenplay and Best Actor male for actor Shahab Hosseini. In his critique, written before palmares, Thomas Sotinel was less customer jurors: “If the female character is more complex over the incidents that punctuate the film, that of Emad instead locks himself in a vengeful simplicity that eventually swallow the rank train. For it is mechanical it is. Those of ‘About Elly or A Separation were equally complex, but better hidden . The gear of Client eventually reduce the humanity of his characters to the simple expression of their position facing a moral choice. “

” We are the New Wave “ says Oulaya Amamra, one of the actresses of the first feature film Houda Benyamina, Divine , presented at the directors’ fortnight, received the Camera d’or, awarded a first film from all sections. During a meeting with Laurent Carpentier, along with the other actress of the film, Deborah Lukumuena, she returns to her character, Dounia: “This sense of injustice that Dounia carries with it, I have it in me. Houda wrote divine after the 2005 riots, as a response to injustice, and if we put our gut to make this film, it’s because we are determined to change things. “ Starting with ” fantasies about the suburbs that the vehicle cinema “. And she adds: “Dounia is” life down here. ” It was so long at the edge of society, today what we are given, we take it. “ Deborah Lukumuena explains, for its part: divine is not a film about the suburbs, nor a feminist film. Considered surprising that the boss is a woman, that’s what’s just amazing. No, this is a film about life, about humans who have questions constantly, humans who have a goal, sometimes the reach, sometimes the miss, sometimes even the wrong goal. “

” The idea to set a target a few dozen rooms is incomprehensible. The world of independent film suffered have developed on too small a scale. “ This is the statement made, in the Cannes Film Festival, Ted Sarandos, head of content at Netflix, reported by Thomas Sotinel in its analysis on power projection in theaters at the time of the boom streaming platforms. Responding to the website Deadline Hollywood – publication for Variety , so close to the Hollywood industry – the leader Netflix detailed the reasons why he thinks the future of cinema will consume individually. For him, only the distribution to 81 million subscribers to its platform can give a global echo a feature film (or series): “Replace this unique and cozy moment in a room against home world of your film seems worth “ says Ted Sarandos.

” It is Sunday, the day of the charts. And, in fact, it’s hell. Soon noon. A little more likely. The big game has just begun. Up to 14 hours later, according to the jury’s deliberations, seven film crews will begin to receive a message from Thierry Fremaux, general delegate of the festival, inviting them to repatriate emergency on the Croisette for the closing ceremony . “ For the latest installment of his column Cannes Red Carpet , Florence Aubenas tells the strange atmosphere that prevailed on the Croisette, a few hours before the closing ceremony, returns between galloping puffs paranoid and prom texting. “A 13 h 12, simple text on the laptop of a producer”. Tell them to come back, the film has something “In coded language of Golden Palm, it means that price it is assigned. No evidence suggests that never. At 13 h 14, a director misses faint. A message flashes on his phone. That’s it. He sees himself on stage. He hears the applause. The tragedy appears in three words, signed its distributor. “The others return.” A rival team made fuiter triumphantly returning to the Festival. For him, however, still nothing. “


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