It seems that at Cannes this year, we talk less about films than about their ideology. And that we discuss less their quality than the merits of programming, for example, Jeanne du Barry as the opening because Johnny Depp is enthroned there and we would have preferred a more moral sovereign… Bigre. Isn't it the same thing every year? The pointy heels of polemics that make holes in the red carpet but, on arrival, at the very top of the steps, films that will imprint on the retina more lasting memories than mini-scandals? As far as we are concerned, at Le Point, these are the films that first marked us. Here are our eight recommendations, even if the Festival continues…§
In Killers of the Flower Moon, the director finds his favorite actors Robert De Niro and Leonardo DiCaprio in a dark episode of American history that touched the Osage Indian tribe. And it's beautiful! "I always wanted to do a western, but I never did it," he says. Certainly, Killers of the Flower Moon is not a classic western but a powerful drama on a forgotten page of American history. It is also the greatest gift that Martin Scorsese offers (out of competition) to the Cannes Film Festival, which has always defended the idea that great films are made to be seen first in the cinema... Finally, it demonstrates how Scorsese has he art of seizing a story to dare to take the viewer into a suspense of three hours and twenty-six minutes that will not weaken. It was DiCaprio who gave him the idea to adapt the future bestseller by journalist and writer David Grann (published under the title The American Note in French) before its publication. "A revelation" for the actor, sensitive to this true story which takes place in the 1920s, within the Indian tribe of the Osages, who became rich overnight thanks to the oil which gushes out of their land, in Oklahoma. Their fortune soon attracts speculators who try by all means to despoil them. Among them, the charismatic and powerful William Hale (Robert De Niro) and his nephew Ernest (Leonardo DiCaprio), in a relationship with a native, Mollie (Lily Gladstone). Very quickly, a series of unexplained murders falls on the tribe. The FBI will lead the investigation under the direction of agent Tom White, played by Jesse Plemons (Breaking Bad). Richly produced by Apple TV from a script by the Scorsese-Eric Roth duo (the latter Oscar winner for Forrest Gump), here is the most beautiful illustration of an incarnated, powerful, human, uncompromising cinema, in the lineage of a John Ford or a John Huston. And the accomplishment of an exemplary career that began at the Cannes Film Festival with the electroshock Taxi Driver, Palme d'or in 1976§ Jean-Luc wachthausen
In theaters October 18.
For the needs of a film, a famous actress (Natalie Portman) arrives in the peaceful coastal town of Savannah, Georgia. She must play a mother who once served a prison sentence for having an affair with a 13-year-old teenager. Gracie (Julianne Moore) ended up divorcing and marrying her young lover despite the age difference and the scandal. All day, she bakes pineapple cakes for the neighborhood and seems to have regained control of her life. The arrival of the actress who interferes in his intimacy in order to better build his character in the cinema will break this fragile balance. By dint of wanting to imitate her, she brings back the past dramas. The two women, the youngest and the eldest, gauge each other and challenge each other with speckled foils in a sort of duo-duel where each keeps its secrets and its mystery. Meanwhile, the husband, out of the game and seemingly stuck in his teenage years, chats on social media and breeds caterpillars. Eight years after Carol with Cate Blanchett, Todd Haynes returns to compete with this May December which, under its melodrama allure, summons the ghosts of Ingmar Bergman (Persona) and Joseph L. Mankiewicz (Eve), especially when the American filmmaker films in macro mode, with the care of an entomologist, the caterpillars and the conflicts about to hatch. Perverse and sumptuous§J.-L. W. and O.U.
Fifteen years after Indiana Jones and the Kingdom of the Crystal Skull, Harrison Ford brings his fedora hat and whip out of the closet for a fifth adventure that sees the famed archaeologist, digitally rejuvenated, forced to fly away with his goddaughter Helena Shaw (Phoebe Waller-Bridge), in pursuit of a certain "Archimedean Sundial" capable of locating rifts in time. We must act quickly: the revengeful ex-Nazi Jürgen Voller (Mads Mikkelsen) is also on the trail of the artifact. From New York to Morocco via Sicily, Indiana Jones and the Dial of Destiny speeds along with new pieces of bravery and an end that will touch the faithful of the first hour§ Philippe guedj
When Blanche (Virginie Efira) crosses paths with the aptly named Grégoire Lamoureux (Melvil Poupaud), it's mad love. Very quickly, the couple married, then moved. Blanche moves away from her family, her twin sister, her life before. Adapted from Éric Reinhardt's novel, Love and the Forests, co-written by Valérie Donzelli and Audrey Diwan, autopsy the mechanics of control by placing itself not on the side of the sickly jealous but of the woman, trapped between her love of love and perversion of her husband. Carried by a formidable duet and a straight-line staging, the film rushes us into an infernal labyrinth with Hitchcockian accents§ v. g.
So many high cries for a film full of sensitivity and nuance! After a controversy over the shooting conditions, The Return, by Catherine Corsini, was still selected in official competition, for lack of reprehensible elements. But he was deprived of aid of 680,000 euros from the CNC, the production having forgotten to report a scene of simulated masturbation with a minor. We saw the film: Catherine Corsini delivers a bittersweet chronicle on the weight of family secrets. Fifteen years after leaving Corsica in a hurry with her two daughters, a childminder mother returns there. His two daughters, one studious, the other rebellious, will know the time of a summer of intense experiences: love, sex, drugs... This feature film delights as an ode to adolescence. The two young actresses Suzy Bemba and especially Esther Gohourou, already dazzling in Mignonnes, are exceptional. A magnificent summer tale, nervous and sensitive§ Olivier ubertalli
Sadness. The "Mick Jagger of literature" leaves us when the adaptation of his controversial novel, "The Zone of Interest", competes for the prize at the Cannes Film Festival... From the shocking book by Martin Amis, his compatriot Jonathan Glazer maintains the harsh tone, signing a chilling film through this father, Rudolf Höss, SS commander of Auschwitz-Birkenau. While his wife plants roses and takes care of the children, he, an obedient soldier, settles the details of the Final Solution, supervises the sections of a new crematorium, keeps things in order. Everything becomes horribly banal, the assumed routine of his daily life letting nothing filter through of the horrors taking place on the other side of the wall, barely perceptible by cries, tears, gunshots and a few clouds of smoke. . Death is invisible, the countryside is so beautiful… The film opens on the emptiness of a gray screen accentuated by a soundtrack conceived as a death rattle coming out of the darkness. We come out stunned from this closed door in barbarism§ J.-L. W.
Immediate takeoff for the planet Anderson. With this eleventh feature film, the director of TheGrand Budapest Hotel (2014) takes us to 1955 in a fictional American city located in the middle of the desert, where gifted students and neurotic parents from all over the country came to attend the Junior Stargazer convention, which will be disturbed by events as wacky as they are supernatural. Two years after the mixed reception given to The French Dispatch, here we are again Wes Anderson with a new five-star cast. We meet in Asteroid City as well Tom Hanks as Scarlett Johansson, Tilda Swinton, Margot Robbie, Adrien Brody or Steve Carell. A flying saucer lands in the middle of this gratin of stars with a strange alien on board, ideas flow, comicalities too, and we savor the great return of Wes Anderson. What if he was, basically, the best philosopher of the time?§ victoria gairin
In theaters June 21.
The Festival was for them the springboard of an international career. Since then, some have had their napkin ring on the Croisette. Martin Scorsese, Palme d'Or for Taxi Driver (1976), Best Director Award for After Hours (1986), returns out of competition with the magnificent Killers of the Flower Moon . Other winners: Wim Wenders, Palme d'or for Paris, Texas, in 1984, presents this year Perfect Days, and the Turkish Nuri Bilge Ceylan, winner 2014 for Winter sleep, his new film, Dry Herbs. The Japanese Kore-eda, Palme d'Or 2018 for A Family Story, is in competition with Monster. Nanni Moretti, crowned in 2001 for The Son's Room and Best Director Award for Diary (1994), shows Vers un avenir radiant at Cannes, where it is about a filmmaker in crisis: him? Dean of the competition (87 years old) and the most politically engaged, the Briton Ken Loach, two gold palms for Le vent se lève (2006) and Me, Daniel Blake (2016), takes another turn with The Old Oak, which evokes a sensitive subject, the reception of refugees in England§ J.-L. W.
Imperative Entertainment/Sp – May December Productions 2022 LLC/SP – Lucasfilm Ltd/Disney/SP – Rectangle Productions/France 2 cinéma/Les Films de Françoise/SP – Le Pacte/SP – A24/SP – Universal/SP – Elisabetta A. Villa/Getty Images – David Fisher/SIPA – Carlos R. Alvarez/WireImage/Getty – JB LACROIX/Full Picture Agency via AFP – MUSTAFA YALCIN/Anadolu Agency via AFP