Home Arts & Culture CANNES 2022. Special correspondence from Eugenia Voda: The glow and decay of...

CANNES 2022. Special correspondence from Eugenia Voda: The glow and decay of Cannes


So far, the brightest, literally (because she wore a silver dress from head to toe, Yves Saint Laurent), but also figuratively (because from time immemorial the festival has not had such a “good” presenter !) was Virginie Efira (Belgian-French, perceived as a kind of Sharon Stone “theirs”) …

Virginie Efira Photo Profimedia

But the chapter on brilliance includes, above all, the parade of intelligence (or intelligences), the avalanche of images and visions, the immense spectacle that the festival offers, with, about and for our world.

For example, the opening film: “Coupez!” (“Cut!”, The original title, or “Final Cut”, the English title), by Michel Hazanavicius. It will probably be in France what is called the “comedy of the year.” The director, Oscar-winning for “The Artist”, returns with a film in which, he says modestly, he wanted nothing more than to make people laugh. Isolated, in a pandemic, he felt the need to do something frantically unleashed on the hard-to-reach parts of laughter! And he succeeded! The French production with a budget of 4 million euros is a remake as free as possible, after a Japanese film, of an unknown young man with the title “Don’t cut!”, Also made after a play, with a budget under $ 30,000, and revenue of tens of millions! – proof that the world wants to laugh, if possible smart!). The film is a crazy triptych, which relies precisely on the intelligence of the viewer (and not on his stupidity)! The first part is a horror movie with zombies! A film crew that makes such a “genre” production wakes up with “real” zombies on their heads, then “zombifies” all, one by one, tons of blood fly through the air, hands and heads cut off, in a sequence plan. 32 minutes, in which you can possibly laugh blue and wonder what Hazanavicius wants … In the second part we move on to the realistic register: we find out that this is a production commissioned by a dwarf Japanese, and she with a air “zombies” – a French director out of inspiration and money, but who works “fast, cheap and decent”, the dream of any producer. And in the third part – a show of strength! – the director resumes the whole first part and dismantles it in plain sight, with a crazy desire to play and play, enters the bowels of the work of a film crew, introduces the viewer behind the scenes, and everything with a lot of humor – from thick humor to thin humor – , and without any moment of boredom. Let’s face it – this is not a masterpiece. It’s neither sophisticated nor original, like “The Artist.” It is, after all, a minor film. But it’s an honest, lively movie that he “laughs at.” And who doesn’t miss a subtle dose of sadness, about the film industry and the destinies of the filmmakers who are (grinding) there … A shining example: the failed director is talking to his own daughter, also a future director, dressed in a T-shirt that says Quentin Tarantino on his chest!

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Julianne Moore Photo Profimedia

An English critic wondered how appropriate this zombie cover was in the context of real bloodshed in Ukraine. “Freedom will not perish!” … Of course, the film cannot liquidate dictators and win wars, but it can influence the “collective mind,” it can be – and is – an “emotional oxygen” as vital as one’s own oxygen. zis …

At the time of writing, the festival program is offering a “rendezvous with Tom Cruise” (which launches its “Top Gun: Maverick” here). Along with the Palme d’Or honors Forest Whitaker and the presence of actress Julianne Moore, who was chosen to declare the edition open, and the presence of Jeff Nichols on the jury – all reconfirm that “Americans” remain the Festival’s most important partner. Cannes. In parallel with a stubborn policy of openness, for example in 2022 Pakistan entered the official selection for the first time!

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Forest Whitaker Photo Profimedia

But because the title of the article also promised something about the “fall of Cannes,” the chapter includes a series of unfortunate innovations that ruin the appearance of the edition. For example, the totally absurd idea of ​​the organizers to give up the festival catalog and the famous “press boxes”, in which journalists received daily INFORMATION … The idea is as stupid as the banks that abolished their cashiers! And nonsense! Now everything wants to be “dematerialized”! Excessive digitization does no good to culture! In addition, more recently, all festival-goers, regardless of accreditation, must also book tickets for online movies! In times with more guests than today, people go to the movies without this torture … Whose prodest? Absolutely nobody! You have to open your mobile phone thousands of times, enter 13 digits and identification letters each time – for what? To show it, several times in a row, to the series of deer at the entrance! The feeling is that the man has become the accessory of his mobile; and that, God forbid, something happens to the cell phone – you don’t exist in Cannes anymore! In short, the festival has lost much of its elegance, nobility, refinement … And it risks losing everything the human dimension… Would be a shame.

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