Nine films expected at the 2022 Cannes Film Festival

after the sun

Before I head to the airport, I post this shortlist of the movies we feature director Particularly excited to see at the 2022 Cannes Film Festival, the cinema’s most famous annual event is already seeing a bumpy opening, with a new event (for those who didn’t see its debut in the mid-epidemic version last year) that the ticket system returns all sorts of errors” 504 Gateway” and obscure messages, some of which have their own monstrous poetry: “View state validation failed…purpose, purpose…” (The press has seen some mitigation as these badges are now redirected to a new server, while Market and festival attendees still have problems.) I hope the films are better than technology – and that we can see them – Vadim Ryzov, Blake Williams and myself, who will all report on the festival in these pages of the coming days. With the unusual opening night of the festival (satire zombie Michael Hazanavicius final cutIn progress, here are nine movies we suggest you pay attention to.

scarlet. Transferring Jack London’s novel to the twentieth century Martin Eden The international image of Italian director Pietro Marcello has greatly elevated. A fun low-key musical documentary (for Lucio) and co-directed a non-fiction message entitled “The State of the Italian Nation” (Futura) later, the follow-up to Marcello’s highly anticipated narrative feature (loosely, all synoptic material) was adapted from Russian writer Alexander Grimm’s novel. The film, the opening night of this year’s Directors’ Week, also marks his first French-language work. – Vadim Ryzhov

after the sun. Memory’s ability to obfuscate, embellish, and distort–as well as accuse or perhaps heal–is the subject of Charlotte Wells’ first feature, after the sun. The bare elements of the movie’s story, which I summed up to close my Wells in . profile directorThe list of 25 new faces of 2018 is simple:after the sunAbout a young father’s vacation trip with his daughter to a seaside resort, [is] Inspired by her vacation trips with her father.” What this synopsis lacks is the film’s present-day perspective, which allows a child’s innocence through a range of turbulent meanings and emotions. Having directed a number of acclaimed short films including blue christmasa gorgeous depiction of a family torn apart on Christmas, and with Pastel’s Adele Romanski and Barry Jenkins among the producers on this debut, Welles prepares for a big tribute when her movie premieres at Critics Week. – SM

Pacification. We’re fortunate to have a single pusher at Cannes’ main competition these days, and Albert Serra’s latest film, the longest running new film that’s not a mini-series in the entire festival, is a good bet to check that box – especially if it’s at all like Albert Serra’s picture. It stars a dreary Benoît Magimel as a “delicate man with impeccable manners”, includes at least one shot of fluorescent lights, and appears to be set after the 18th century – this is Serra’s new terrain, and one of the few films to be shown in this was this General I can say I have to think about what I’m into. – Blake Williams

Super 8 years. Annie Erno has spent years writing about separate parts of her life thematically in books on topics from various love affairs to biographies of both her mother and father; A recent edition of her account of obtaining an illegal abortion in France occurred in 1963. 2008 the years She collected her entire life into one great overall picture, trading the singular in the plural from the first person perspective. Now, in collaboration with her son David, Erno – an outspoken screenwriter – is co-directing her first film, which promises to re-examine her life from another point of view: her family’s home movies. – VR

. After what is arguably her best movie, first cow, Kelly Richardt returns to Cannes with a new image that brings old collaborators (including actor Michelle Williams, screenwriter John Raymond, DP Chris Blauvelt, producers Anish Savani and Neil Cope) together with new faces (Andre 3000) as he struggles with… Relatively low population. Midlife drama sub-genre: “The Gallery Artist Prepares for a New Show”. One of my favorites in this category is the writings of Richard Price life lessonsDirected by Martin Scorsese, the new expressionist painter Nick Nolte requires all forms of emotional drama to complete his final paintings. I would expect something very different from Reichardt, who, with her patient talent for capturing, is particularly well suited to bringing drama to the ways life and art mingle. – SM

D Human Corporation Fabrica. The fourth long-running collaboration between Véréna Paravel and Lucien Castaing-Taylor—two anthropologists and artists whose collaborative work in the media of film, video, and photography—has secured the Harvard Sensory Ethnography Laboratory of its own chapter in any future documentary film. their sailing Leviathan (2012) and uh gourmet caniba (2017) has approached the limits of what Laura U. Marks calls tactile vision, the tactile relationship that viewers formulate with the “skin of the movie,” and her latest, which focuses on five Parisian hospitals and the bodies in them, promises digs he said quite literally under the skin. It shouldn’t be a thing if not sensual, and there would undoubtedly be blood. – black and white

Courts métrags en compétition. Short films are always relegated to lower profiles, but the Cannes Program is the only one dedicated to new short films not produced by student filmmakers (whose work gets four separate short programmes) can reliably contain promising work from emerging international filmmakers who will make short films. Big in years to come. This year’s release comes with a marquee element: a new short film from Bi Gan, his first work since 2018 half in 3D. .- VR

Christophe … Définitivement. Between recording music by superstar Bruno Dumont France (2021) and the premiere of this film in Cannes major competition last year, French publication Christophe died of complications with COVID-19. Video artists Dominic Gonzalez Forster and Ang Leccia now present this image of the pop musician returning to stage shows in 2002 after a 28-year hiatus, composed of what appears to be a highly saturated video documentation. Kristoff’s singing is one thing, but 10 seconds looking at Leccia’s 1991 video no mer It was enough for this to become necessary. It will be shown at the festival’s beach cinema, right after sunset; I was praying that it wouldn’t rain but it probably wouldn’t be out of line. – black and white

God’s creatures. In writing about Anna Rose Holmer seizures to directorA Spring 2016 cover story, described the small budget debut as “really fun and unexpectedly quirky,” praising its resistance to overexplaining its narrative secrets. I also referred to the “supportive, free-flowing, and collaborative” production model, where a certain set of hierarchies are disrupted. So, six years later, it’s great to see Holmer return, this time directing alongside Cyla Davis, who edited seizuresand again dealing with the enigma of motivation and intent within a small community. – SM

Irma Vape. Olivier Assayas 1996 Irma Vapeas struggling director Rene Vidal attempts to relaunch his career with a remake of Louis Feuillade’s classic silent film, Why vampiresand, with Hong Kong star (Maggie Cheung) in the title role, this was a satire for the French film industry as well as, in some parts, an experimental poem for cinema youth in general. I remember the ripple of excitement when this gritty, deceptive and even dreamy movie, sandwiched between two other Assayas classics (Cold water And Late August, early September) landed in the US, and its perforated lines resonate as well within the US indie scene. So, it is surprising to realize that in 2022, Irma Vape It is, at its most basic level, an “IP” – a property that exists ready to be reimagined for HBO Max and today’s streaming scene. Among other things, this means that instead of a 99-minute feature, the series is roughly eight hours long. Actor and director Vincent McKean replaces Jean-Pierre Laude as Vidal, and this time intruder Alicia Vikander, who plays an American star. In his essay Cinema in the Present Tense, Assayas wrote, “When trying to locate a reframing of cinema today, it is impossible not to put it online and in the latter’s redefinition of both cinema viewing modes and the way we move through its history.” So it’d be great to see how the thoughtful and intelligent Assayas sway through what I’m sure would be very funny to trouble the author, er, content in 2022. – SM

Leave a Comment

Your email address will not be published.