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Culture – Movs.World
Tahar Rahim, prophet in his country
Stencil artist and street art pioneer Miss. tic is dead
“Chronicle of a temporary affair”, a brief summary of the tangled relationship between the sexes
slamming doors at the TikTok Short Film Festival
in “Brother and Sister”, Arnaud Desplechin explores unbreakable and toxic family ties
Death of Vangelis, wizard of synths
“Giulio Cesare” in the antechamber of death
Forest Whitaker, a Healer’s Palm
“The Eight Mountains”, a fable with a stiff morality on the return to nature
Volodymyr Zelensky stars in American Festival opening ceremony

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                    [title] => Tahar Rahim, prophet in his country
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                            [creator] => Susan Hally
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                    [pubdate] => Mon, 23 May 2022 07:46:55 +0000
                    [category] => CulturecountryprophetRahimTahar
                    [guid] => https://movs.world/culture/tahar-rahim-prophet-in-his-country/
                    [description] => Tahar Rahim, at the JW Marriott hotel, in Cannes, on May 22, 2022. AUDOIN DESFORGES/PASCO FOR “THE WORLD” He has the seductive energy of a Tom Cruise, a misty throaty voice that you would recognize among a thousand and the joyful smile of the child who played you a good trick. Tahar Rahim is Don ... Read more
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He has the seductive energy of a Tom Cruise, a misty throaty voice that you would recognize among a thousand and the joyful smile of the child who played you a good trick. Tahar Rahim is Don Juan. On screen, in Don Juan signed Serge Bozon, presented at the Cannes Film Festival before being released in theaters in stride (“An inverted Don Juan, with amorous sorrow such as one hardly ever sees in a man in the cinema”, he explains nicely). And Don Juan in the city, able to charm you reluctantly while smiling – as here in the carpeted, plushly modern lobby of the Marriott hotel – at people who pass and interrupt him with a hello.

He says that in order to understand this Don Juan of the cinema, distraught at having lost his love for a look slipped towards another, he thought: “We must not forget that the character is an actor. To understand this madness that inhabits him, I thought he had to be confused. I’ve read stuff like that: actors who don’t get out of character, who mix things up and end up in a psychiatric hospital. »

“You never feel more alive than in survival”

He is anything but. At Tahar Rahim, nothing is confused. Never seems to have been, since the day, at 17, when he discovered in The Republican East, at his home in Belfort, an ad to appear in a short film. It has been three years since the youngest of ten siblings whose father left Algeria – where he was teaching Arabic – for the French El Dorado, a better paid job at Alsthom, and the promise of a future for his offspring, no longer leaves cinemas.

“I had an extraordinary childhood, nothing to say, and then after adolescence we run after something else and then I go to the cinema, it grabs me, I like the atmosphere, it allows me to m escape, and then I had a way back. I went there five times a week, for two years non-stop, and then after that it slowly turns into a vital need. » He responds to the ad for the extras. It was there that he met Cyril Mennegun, the future director of Caesarized Louise Wimmer.

Cinema license

Because contrary to what we often imagine, Tahar Rahim, now an international star (To lose reason by Joachim Lafosse The past d’Asghar Farhadi, The Secret of the Dark Room de Kiyoshi Kurosawa, Found Guilty by Kevin Macdonald or soon Napoleon of Ridley Scott…), which the glossy magazines tear off, was not discovered during a wild casting to interpret the convict ofa prophet by Jacques Audiard. Man built himself step by step, voluntarily.

You have 49.58% of this article left to read. The following is for subscribers only.

) [summary] => Tahar Rahim, at the JW Marriott hotel, in Cannes, on May 22, 2022. AUDOIN DESFORGES/PASCO FOR “THE WORLD” He has the seductive energy of a Tom Cruise, a misty throaty voice that you would recognize among a thousand and the joyful smile of the child who played you a good trick. Tahar Rahim is Don ... Read more [atom_content] =>

He has the seductive energy of a Tom Cruise, a misty throaty voice that you would recognize among a thousand and the joyful smile of the child who played you a good trick. Tahar Rahim is Don Juan. On screen, in Don Juan signed Serge Bozon, presented at the Cannes Film Festival before being released in theaters in stride (“An inverted Don Juan, with amorous sorrow such as one hardly ever sees in a man in the cinema”, he explains nicely). And Don Juan in the city, able to charm you reluctantly while smiling – as here in the carpeted, plushly modern lobby of the Marriott hotel – at people who pass and interrupt him with a hello.

He says that in order to understand this Don Juan of the cinema, distraught at having lost his love for a look slipped towards another, he thought: “We must not forget that the character is an actor. To understand this madness that inhabits him, I thought he had to be confused. I’ve read stuff like that: actors who don’t get out of character, who mix things up and end up in a psychiatric hospital. »

“You never feel more alive than in survival”

He is anything but. At Tahar Rahim, nothing is confused. Never seems to have been, since the day, at 17, when he discovered in The Republican East, at his home in Belfort, an ad to appear in a short film. It has been three years since the youngest of ten siblings whose father left Algeria – where he was teaching Arabic – for the French El Dorado, a better paid job at Alsthom, and the promise of a future for his offspring, no longer leaves cinemas.

“I had an extraordinary childhood, nothing to say, and then after adolescence we run after something else and then I go to the cinema, it grabs me, I like the atmosphere, it allows me to m escape, and then I had a way back. I went there five times a week, for two years non-stop, and then after that it slowly turns into a vital need. » He responds to the ad for the extras. It was there that he met Cyril Mennegun, the future director of Caesarized Louise Wimmer.

Cinema license

Because contrary to what we often imagine, Tahar Rahim, now an international star (To lose reason by Joachim Lafosse The past d’Asghar Farhadi, The Secret of the Dark Room de Kiyoshi Kurosawa, Found Guilty by Kevin Macdonald or soon Napoleon of Ridley Scott…), which the glossy magazines tear off, was not discovered during a wild casting to interpret the convict ofa prophet by Jacques Audiard. Man built himself step by step, voluntarily.

You have 49.58% of this article left to read. The following is for subscribers only.

) [1] => Array ( [title] => Stencil artist and street art pioneer Miss. tic is dead [link] => https://movs.world/culture/stencil-artist-and-street-art-pioneer-miss-tic-is-dead/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sun, 22 May 2022 20:45:57 +0000 [category] => CultureartartistdeadpioneerStencilstreetTic [guid] => https://movs.world/culture/stencil-artist-and-street-art-pioneer-miss-tic-is-dead/ [description] => Miss.Tic posing in her studio in Paris, January 31, 2006. BERTRAND GUAY / AFP The news was announced through her social media accounts: artist Miss. Tic, 66, died on Sunday May 22 in Paris following an illness. An essential Parisian figure in urban art, she had made a name for herself on the walls of ... Read more [content] => Array ( [encoded] =>

The news was announced through her social media accounts: artist Miss. Tic, 66, died on Sunday May 22 in Paris following an illness. An essential Parisian figure in urban art, she had made a name for herself on the walls of the capital since 1985. From the alleys of Ménilmontant, the Marais or the Butte-aux-Cailles, she has never left her a simple and effective formula that she will have declined at will: an impertinent epigram on the feeling of love, accompanied by a sexy self-portrait, often in lingerie and high heels, playing with the codes of the femme fatale, all painted in stencil in black and white, and enhanced with red.

Born in Paris on May 20, 1956 to a Tunisian immigrant father and a Norman mother, Radhia Novat, her real name, grew up in Montmartre, and spent her adolescence in a city of Orly, before a succession of dramas, which will make her an orphan very young, and left-handed following the accident which was fatal to her family and left her with an atrophied hand. She studied applied arts and street theater in the company Zéro de conduit, before going into exile in California, where she frequented the punk scene, in the early 1980s. Back in Paris, she became closer to the band of the Ripoulin Brothers and the VLP (Vive la peinture), who paint in the street, on the fences or by hijacking the pubs.

“She was a feminist and supportive of the cause of women, but in her own way, very free, independent and poetic. She was not an ideologue, but a deeply anarchist. » His step-children, Antoine and Charlotte Novat

It is a love spite that will inspire his first stencil, placed on a wall of 14e arrondissement : “I put on wall art to bombard words hearts”. Fan of comics, she borrowed her pseudonym from the mocking witch character Miss Tick in Scrooge’s albums. His nocturnal and illegal practice will always echo his desires, his failings and his sentimental disappointments through his pungent and often committed formulas: “To life, to love”, “Practical Lover”, “Weary War Correspondent”, “Does man descend from dreams? », “No ideals, just lofty ideas”, “I play, yes”, “Do free acts have a price? », “The emotion passes”, “Egeria and I cried”, “I have vagueness in the man”“She was a feminist and supportive of the cause of women, but in her own way, very free, independent and poetic. She was not an ideologue, but a deeply anarchist”entrust his step-children, Antoine and Charlotte Novat, who are his legatees.

You have 46.01% of this article left to read. The following is for subscribers only.

) [summary] => Miss.Tic posing in her studio in Paris, January 31, 2006. BERTRAND GUAY / AFP The news was announced through her social media accounts: artist Miss. Tic, 66, died on Sunday May 22 in Paris following an illness. An essential Parisian figure in urban art, she had made a name for herself on the walls of ... Read more [atom_content] =>

The news was announced through her social media accounts: artist Miss. Tic, 66, died on Sunday May 22 in Paris following an illness. An essential Parisian figure in urban art, she had made a name for herself on the walls of the capital since 1985. From the alleys of Ménilmontant, the Marais or the Butte-aux-Cailles, she has never left her a simple and effective formula that she will have declined at will: an impertinent epigram on the feeling of love, accompanied by a sexy self-portrait, often in lingerie and high heels, playing with the codes of the femme fatale, all painted in stencil in black and white, and enhanced with red.

Born in Paris on May 20, 1956 to a Tunisian immigrant father and a Norman mother, Radhia Novat, her real name, grew up in Montmartre, and spent her adolescence in a city of Orly, before a succession of dramas, which will make her an orphan very young, and left-handed following the accident which was fatal to her family and left her with an atrophied hand. She studied applied arts and street theater in the company Zéro de conduit, before going into exile in California, where she frequented the punk scene, in the early 1980s. Back in Paris, she became closer to the band of the Ripoulin Brothers and the VLP (Vive la peinture), who paint in the street, on the fences or by hijacking the pubs.

“She was a feminist and supportive of the cause of women, but in her own way, very free, independent and poetic. She was not an ideologue, but a deeply anarchist. » His step-children, Antoine and Charlotte Novat

It is a love spite that will inspire his first stencil, placed on a wall of 14e arrondissement : “I put on wall art to bombard words hearts”. Fan of comics, she borrowed her pseudonym from the mocking witch character Miss Tick in Scrooge’s albums. His nocturnal and illegal practice will always echo his desires, his failings and his sentimental disappointments through his pungent and often committed formulas: “To life, to love”, “Practical Lover”, “Weary War Correspondent”, “Does man descend from dreams? », “No ideals, just lofty ideas”, “I play, yes”, “Do free acts have a price? », “The emotion passes”, “Egeria and I cried”, “I have vagueness in the man”“She was a feminist and supportive of the cause of women, but in her own way, very free, independent and poetic. She was not an ideologue, but a deeply anarchist”entrust his step-children, Antoine and Charlotte Novat, who are his legatees.

You have 46.01% of this article left to read. The following is for subscribers only.

) [2] => Array ( [title] => “Chronicle of a temporary affair”, a brief summary of the tangled relationship between the sexes [link] => https://movs.world/culture/chronicle-of-a-temporary-affair-a-brief-summary-of-the-tangled-relationship-between-the-sexes/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sat, 21 May 2022 22:43:49 +0000 [category] => CultureaffairChroniclerelationshipsexessummarytangledtemporary [guid] => https://movs.world/culture/chronicle-of-a-temporary-affair-a-brief-summary-of-the-tangled-relationship-between-the-sexes/ [description] => Vincent Macaigne and Sandrine Kiberlain in “Chronicle of a passing affair”, by Emmanuel Mouret. PYRAMIDE DISTRIBUTION OFFICIAL SELECTION – CANNES PREMIÈRE Emmanuel Mouret, 51, a great practitioner of love algebra, of Marivaudian obedience, delivers with his 11e feature film a reduction to the bone of his cinema. The equation that it unfolds before our eyes ... Read more [content] => Array ( [encoded] =>

OFFICIAL SELECTION – CANNES PREMIÈRE

Emmanuel Mouret, 51, a great practitioner of love algebra, of Marivaudian obedience, delivers with his 11e feature film a reduction to the bone of his cinema. The equation that it unfolds before our eyes is written in the most elementary terms: a man, a woman, the minimum required to tell a love story that is also a small summary of the tangled relationships between the sexes.

The whole film is delightfully woven with language gaps, stumbles in speech, chiseled irony

Simon (Vincent Macaigne) and Charlotte (Sandine Kiberlain) meet at a party, like each other, have a last drink, go home together. Everything is going so well that inevitably comes the question of seeing each other again. He, a married man, somewhat lacking in self-confidence, considers himself happy that such an affair is happening, but accepts his temporary nature, without daring to leave his home. She, a single and pragmatic mother, is ahead of him, declaring herself in favor of an adventure without the slightest tie. Fatuity of the moderns, Mouret chuckles as he observes from his classic position his characters sink, scene after scene, escapade after date, into the denial of a relationship much more lasting than they care to be. ‘admit.

Read also: Article reserved for our subscribers Cannes 2022: Emmanuel Mouret or the chronicle of a lasting relationship

Chronicle of a temporary liaison retains of his characters only their hidden meetings, rejecting to his margins everything that does not belong directly to their relationship. Abstracted from the social field, it is told as if from the inside, as an experience limited in time, to the rhythm of sketches that punctuate its evolution. The filmmaker has fun reversing the traditional roles within the couple: the man, modest and reserved, willingly lapsing into self-deprecation, yields the initiative to a woman much bolder than him. But the complex described here is even more fun. Because they are determined not to get in each other’s way, not to make a scene, to get ahead of the other’s desire, even if it means overtaking it, Charlotte and Simon invent such a fluid relationship, and to be honest so perfect that it slips through their fingers. Funny situation this one, where two beings visibly in love do not stop anticipating the probable end of their affair, and end up precipitating it.

Tightrope walker score

Here as elsewhere, Mouret is not satisfied with running away from sentimental motifs for the sole pleasure of the form, of a very classic transparency and a formidable clarity of line. As a good “eighteenth-centuryist” (Mademoiselle de Joncquières was inspired by Diderot), the filmmaker offers a variation on a well-known problem of moral philosophy, that of the mismatch between wanting and doing. Why do Charlotte and Simon express themselves against what they each seem to deeply desire? Why do they converse in a fiction of practicality and rationality, when they clearly love each other, and this love obliges them? The whole film is deliciously woven with lapses in language, stumbles in speech, chiseled irony, like so many breaches revealing the whole unconscious part that works in the characters.

You have 16.14% of this article left to read. The following is for subscribers only.

) [summary] => Vincent Macaigne and Sandrine Kiberlain in “Chronicle of a passing affair”, by Emmanuel Mouret. PYRAMIDE DISTRIBUTION OFFICIAL SELECTION – CANNES PREMIÈRE Emmanuel Mouret, 51, a great practitioner of love algebra, of Marivaudian obedience, delivers with his 11e feature film a reduction to the bone of his cinema. The equation that it unfolds before our eyes ... Read more [atom_content] =>

OFFICIAL SELECTION – CANNES PREMIÈRE

Emmanuel Mouret, 51, a great practitioner of love algebra, of Marivaudian obedience, delivers with his 11e feature film a reduction to the bone of his cinema. The equation that it unfolds before our eyes is written in the most elementary terms: a man, a woman, the minimum required to tell a love story that is also a small summary of the tangled relationships between the sexes.

The whole film is delightfully woven with language gaps, stumbles in speech, chiseled irony

Simon (Vincent Macaigne) and Charlotte (Sandine Kiberlain) meet at a party, like each other, have a last drink, go home together. Everything is going so well that inevitably comes the question of seeing each other again. He, a married man, somewhat lacking in self-confidence, considers himself happy that such an affair is happening, but accepts his temporary nature, without daring to leave his home. She, a single and pragmatic mother, is ahead of him, declaring herself in favor of an adventure without the slightest tie. Fatuity of the moderns, Mouret chuckles as he observes from his classic position his characters sink, scene after scene, escapade after date, into the denial of a relationship much more lasting than they care to be. ‘admit.

Read also: Article reserved for our subscribers Cannes 2022: Emmanuel Mouret or the chronicle of a lasting relationship

Chronicle of a temporary liaison retains of his characters only their hidden meetings, rejecting to his margins everything that does not belong directly to their relationship. Abstracted from the social field, it is told as if from the inside, as an experience limited in time, to the rhythm of sketches that punctuate its evolution. The filmmaker has fun reversing the traditional roles within the couple: the man, modest and reserved, willingly lapsing into self-deprecation, yields the initiative to a woman much bolder than him. But the complex described here is even more fun. Because they are determined not to get in each other’s way, not to make a scene, to get ahead of the other’s desire, even if it means overtaking it, Charlotte and Simon invent such a fluid relationship, and to be honest so perfect that it slips through their fingers. Funny situation this one, where two beings visibly in love do not stop anticipating the probable end of their affair, and end up precipitating it.

Tightrope walker score

Here as elsewhere, Mouret is not satisfied with running away from sentimental motifs for the sole pleasure of the form, of a very classic transparency and a formidable clarity of line. As a good “eighteenth-centuryist” (Mademoiselle de Joncquières was inspired by Diderot), the filmmaker offers a variation on a well-known problem of moral philosophy, that of the mismatch between wanting and doing. Why do Charlotte and Simon express themselves against what they each seem to deeply desire? Why do they converse in a fiction of practicality and rationality, when they clearly love each other, and this love obliges them? The whole film is deliciously woven with lapses in language, stumbles in speech, chiseled irony, like so many breaches revealing the whole unconscious part that works in the characters.

You have 16.14% of this article left to read. The following is for subscribers only.

) [3] => Array ( [title] => slamming doors at the TikTok Short Film Festival [link] => https://movs.world/culture/slamming-doors-at-the-tiktok-short-film-festival/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sat, 21 May 2022 11:42:50 +0000 [category] => CulturedoorsFestivalfilmshortslammingTikTok [guid] => https://movs.world/culture/slamming-doors-at-the-tiktok-short-film-festival/ [description] => At Cannes, 20 May 2022. SARAH MEYSSONNIER/REUTERS At the very end of the Croisette, away from the hubbub of the festival, this Friday, May 20, another event is taking place, another world is stirring. A priori, there are not many of them, a hundred came to attend the #TikTokShortFilm awards. Except that, for the online ... Read more [content] => Array ( [encoded] =>

At the very end of the Croisette, away from the hubbub of the festival, this Friday, May 20, another event is taking place, another world is stirring. A priori, there are not many of them, a hundred came to attend the #TikTokShortFilm awards. Except that, for the online video exchange platform, the challenge is elsewhere, in its billion subscribers. When Eric Garandeau, former boss of the National Center for Cinema and Animated Image, pushed TikTok, of which he is now the director of public affairs, to sign a partnership with the Cannes Film Festival, the idea was immediate. to create its own competition. Films of less than three minutes, in vertical format, and never before seen. Result: 70,000 applications and 4.5 billion views for the #TikTokShortFilm.

Such a score leaves you wondering, stuck as we are between an influencer in a corset and a tiktokeur with a thin mustache… “Uh, no, I am a manager of tiktokeurs”, says the man. On the small stage, Terry Noiran, alias Terry LTAM, 30 years old and a modest 270,000 subscribers, who attended high school in New York, plays the masters of ceremonies. Member of the jury, the Senegalese filmmaker Angèle Diabang announces: “These hundred and fifty three-minute films, we watched them as if they were ninety-minute films. » Director Camille Ducellier adds enthusiastically: “The vertical format forces us to reinvent a grammar of cinema after decades of horizontality. »

Satisfied smile

The sexy influencer is scratching her head: « And the winner is ? » Screenplay Prize: Claudia Cochet – on violence against women. Editing Award: Tim Hamilton, New Zealand, and his stunning special effects. Grand Prize? This is where things went wrong.

“A jury, it meets apart, it discusses, it yells at each other, but in no case is it parasitized by the organizersconfides to us Rithy Panh, the rash Cambodian director who agreed to chair this one, returning to an incident that stirred up the competition. However, there, we were scattered, the meetings were done by teleconference, and a lot of people started to get involved. » When he ends up, the day before the ceremony, by finding himself with another winner than the one he is defending, Rithy Panh slams the door of this world of algorithms and managers. « It wasn’t politics, it wasn’t the Chinese [qui ont créé TikTok], it was just dumb”gets angry the director, who has made the denunciation of the massacres carried out by the Khmer Rouge the breeding ground of his work.

You have 11.24% of this article left to read. The following is for subscribers only.

) [summary] => At Cannes, 20 May 2022. SARAH MEYSSONNIER/REUTERS At the very end of the Croisette, away from the hubbub of the festival, this Friday, May 20, another event is taking place, another world is stirring. A priori, there are not many of them, a hundred came to attend the #TikTokShortFilm awards. Except that, for the online ... Read more [atom_content] =>

At the very end of the Croisette, away from the hubbub of the festival, this Friday, May 20, another event is taking place, another world is stirring. A priori, there are not many of them, a hundred came to attend the #TikTokShortFilm awards. Except that, for the online video exchange platform, the challenge is elsewhere, in its billion subscribers. When Eric Garandeau, former boss of the National Center for Cinema and Animated Image, pushed TikTok, of which he is now the director of public affairs, to sign a partnership with the Cannes Film Festival, the idea was immediate. to create its own competition. Films of less than three minutes, in vertical format, and never before seen. Result: 70,000 applications and 4.5 billion views for the #TikTokShortFilm.

Such a score leaves you wondering, stuck as we are between an influencer in a corset and a tiktokeur with a thin mustache… “Uh, no, I am a manager of tiktokeurs”, says the man. On the small stage, Terry Noiran, alias Terry LTAM, 30 years old and a modest 270,000 subscribers, who attended high school in New York, plays the masters of ceremonies. Member of the jury, the Senegalese filmmaker Angèle Diabang announces: “These hundred and fifty three-minute films, we watched them as if they were ninety-minute films. » Director Camille Ducellier adds enthusiastically: “The vertical format forces us to reinvent a grammar of cinema after decades of horizontality. »

Satisfied smile

The sexy influencer is scratching her head: « And the winner is ? » Screenplay Prize: Claudia Cochet – on violence against women. Editing Award: Tim Hamilton, New Zealand, and his stunning special effects. Grand Prize? This is where things went wrong.

“A jury, it meets apart, it discusses, it yells at each other, but in no case is it parasitized by the organizersconfides to us Rithy Panh, the rash Cambodian director who agreed to chair this one, returning to an incident that stirred up the competition. However, there, we were scattered, the meetings were done by teleconference, and a lot of people started to get involved. » When he ends up, the day before the ceremony, by finding himself with another winner than the one he is defending, Rithy Panh slams the door of this world of algorithms and managers. « It wasn’t politics, it wasn’t the Chinese [qui ont créé TikTok], it was just dumb”gets angry the director, who has made the denunciation of the massacres carried out by the Khmer Rouge the breeding ground of his work.

You have 11.24% of this article left to read. The following is for subscribers only.

) [4] => Array ( [title] => in “Brother and Sister”, Arnaud Desplechin explores unbreakable and toxic family ties [link] => https://movs.world/culture/in-brother-and-sister-arnaud-desplechin-explores-unbreakable-and-toxic-family-ties/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Fri, 20 May 2022 13:40:41 +0000 [category] => CultureArnaudbrotherDesplechinexploresfamilysistertiestoxicUnbreakable [guid] => https://movs.world/culture/in-brother-and-sister-arnaud-desplechin-explores-unbreakable-and-toxic-family-ties/ [description] => Alice (Marion Cotillard) and Louis (Melvil Poupaud) in “Brother and Sister”, by Arnaud Desplechin. SHANNA BESSON/WHY NOT PRODUCTIONS OFFICIAL SELECTION – IN COMPETITION THE OPINION OF THE “WORLD” – NOT TO BE MISSED The family, place of origins, is also the mythological factory par excellence. From ancient theater to psychoanalysis, Western culture has never said ... Read more [content] => Array ( [encoded] =>

OFFICIAL SELECTION – IN COMPETITION

THE OPINION OF THE “WORLD” – NOT TO BE MISSED

The family, place of origins, is also the mythological factory par excellence. From ancient theater to psychoanalysis, Western culture has never said otherwise: humans stumble because they are prisoners of structures that go beyond them, of laws that precede them, of bonds that they cannot sever. Taken in a family, the individual is no longer exactly himself: he doubles as a function – father or mother, brother or sister, son or daughter – and thereby finds himself committed to a destiny.

The latest and fourteenth feature film by Arnaud Desplechin, presented on Friday May 20, in competition at Cannes simultaneously with its theatrical release, digs into the family vein that recurs in his dotted work, started very early with The Life of the Dead (1991) and continued with A Christmas tale (2008). A vein that is that of the choral narrative, of the return home (Roubaix, the filmmaker’s birthplace and its fictional Ithaca), of the mixing of filial ties, rituals, duties and the resentment that lies beneath.

The family also being the place of great passions, it is thus with an excessive feeling that the film traces the particular genealogy: the frank and unmixed hatred which opposed for years a brother and a sister, Louis (Melvil Poupaud) and Alice (Marion Cotillard). He is a writer, deeply broken by the loss of a child, she is an actress, playing every evening The dead, by James Joyce, on stage. Louis has a psychiatrist friend, Zwy, played by Patrick Timsit.

Hatred has a history, generally muddled, because its causes are lost in the sequence of its adventures. The event that allows us here to reconvene the different strata is a road accident (the scene, superb and terrible, is a marvel of millimeter suspense), suffered by the parents of the protagonists, who find themselves in the hospital and on the verge of death. Louis and Alice can only hurry to their bedside under the express condition, demanded by the actress, of not being in the presence of her brother. A request that will have the incredible effect of “partitioning” the family reunion on either side of an invisible Rubicon. Let everyone find their own, but only in their corner.

Read also: Article reserved for our subscribers Cannes Film Festival: Marion Cotillard, an actress between two shores

What is a kinship made of? What mystery, what violence? Like Kings & Queen (2004), which told the story of a couple after their separation, Brother and sister is based on a duality of masculine and feminine principles, here like the two opposite poles of the same adventure. Here too, the stories of the man and the woman revolve around each other, respect each other, but remain irreducible to each other for a long time.

You have 46.75% of this article left to read. The following is for subscribers only.

) [summary] => Alice (Marion Cotillard) and Louis (Melvil Poupaud) in “Brother and Sister”, by Arnaud Desplechin. SHANNA BESSON/WHY NOT PRODUCTIONS OFFICIAL SELECTION – IN COMPETITION THE OPINION OF THE “WORLD” – NOT TO BE MISSED The family, place of origins, is also the mythological factory par excellence. From ancient theater to psychoanalysis, Western culture has never said ... Read more [atom_content] =>

OFFICIAL SELECTION – IN COMPETITION

THE OPINION OF THE “WORLD” – NOT TO BE MISSED

The family, place of origins, is also the mythological factory par excellence. From ancient theater to psychoanalysis, Western culture has never said otherwise: humans stumble because they are prisoners of structures that go beyond them, of laws that precede them, of bonds that they cannot sever. Taken in a family, the individual is no longer exactly himself: he doubles as a function – father or mother, brother or sister, son or daughter – and thereby finds himself committed to a destiny.

The latest and fourteenth feature film by Arnaud Desplechin, presented on Friday May 20, in competition at Cannes simultaneously with its theatrical release, digs into the family vein that recurs in his dotted work, started very early with The Life of the Dead (1991) and continued with A Christmas tale (2008). A vein that is that of the choral narrative, of the return home (Roubaix, the filmmaker’s birthplace and its fictional Ithaca), of the mixing of filial ties, rituals, duties and the resentment that lies beneath.

The family also being the place of great passions, it is thus with an excessive feeling that the film traces the particular genealogy: the frank and unmixed hatred which opposed for years a brother and a sister, Louis (Melvil Poupaud) and Alice (Marion Cotillard). He is a writer, deeply broken by the loss of a child, she is an actress, playing every evening The dead, by James Joyce, on stage. Louis has a psychiatrist friend, Zwy, played by Patrick Timsit.

Hatred has a history, generally muddled, because its causes are lost in the sequence of its adventures. The event that allows us here to reconvene the different strata is a road accident (the scene, superb and terrible, is a marvel of millimeter suspense), suffered by the parents of the protagonists, who find themselves in the hospital and on the verge of death. Louis and Alice can only hurry to their bedside under the express condition, demanded by the actress, of not being in the presence of her brother. A request that will have the incredible effect of “partitioning” the family reunion on either side of an invisible Rubicon. Let everyone find their own, but only in their corner.

Read also: Article reserved for our subscribers Cannes Film Festival: Marion Cotillard, an actress between two shores

What is a kinship made of? What mystery, what violence? Like Kings & Queen (2004), which told the story of a couple after their separation, Brother and sister is based on a duality of masculine and feminine principles, here like the two opposite poles of the same adventure. Here too, the stories of the man and the woman revolve around each other, respect each other, but remain irreducible to each other for a long time.

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) [5] => Array ( [title] => Death of Vangelis, wizard of synths [link] => https://movs.world/culture/death-of-vangelis-wizard-of-synths/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Fri, 20 May 2022 02:39:43 +0000 [category] => CultureDeathsynthsVangelisWizard [guid] => https://movs.world/culture/death-of-vangelis-wizard-of-synths/ [description] => Evangelos Odysseas Papathanassiou, nicknamed “Vangelis”, in Paris, on October 20, 1992. GEORGES BENDRIHEM / AFP For ordinary mortals, he is the author of an Olympic theme, which goes without saying for a Greek citizen. An ostinato produced by a sequencer, enhanced by two synthesizer notes as if to announce a sunrise over the ocean. A ... Read more [content] => Array ( [encoded] =>

For ordinary mortals, he is the author of an Olympic theme, which goes without saying for a Greek citizen. An ostinato produced by a sequencer, enhanced by two synthesizer notes as if to announce a sunrise over the ocean. A stunning drum machine effect, triplets used as a melodic motif, precedes the piano exposition of a tubesque theme, before an even more lyrical chorus. The image of British athletes, all dressed in white, who are preparing for the 1924 games in Paris, by running along a beach, comes to mind. And the plot of chariots of fire (1981), a film by Hugh Hudson which won four Oscars, one necessarily going to the author of the music: Vangelis. The soundtrack rose to the top of the American charts with sales reaching one million copies.

This instrumental with international repercussions should be programmed as a priority to salute the disappearance of the Greek composer, who died on Tuesday May 17 in a French hospital, at the age of 79. Because after the release of the film, this Titles that we will rename Chariots of Fire continued its sporting career thanks to its repeated use, by the organizers as well as by television, during successive editions of the Olympic Games. Which could hide the rest of a work that made Vangelis, alongside Wendy Carlos and Giorgio Moroder, a master of synthetic music in cinema. More cult among soundtrack fans is indeed his score composed in stride for Blade Runner (1982), by Ridley Scott, a perfect symbiosis of epic grandeur and harrowing climates.

Before becoming this mysterious sorcerer of synths, Evangelos Odysseas Papathanassiou, born on March 29, 1943 in Agria, Thessaly, had known a popstar celebrity within Aphrodite’s Child, the most famous Greek group abroad. Whose singer and guitarist was not unknown either since it was Demis Roussos (1946-2015). Before joining their talents in 1967, these two were already stars in their countries, Papathanassiou as leader and organist of the Forminx, one of those countless garage groups that existed almost everywhere in the world, imitating the sound of the British invasion initiated by the Beatles. Before the dictatorship of the colonels tragically whistles the end of recess.

His destiny is played out in Paris in May 1968

Aphrodite’s Child then plans to settle in London, but it is in Paris that its destiny will be played out in May 1968. The group is stuck in the capital, without it being known whether it is the fault of the strikes or administrative formalities. He nevertheless took the opportunity to sign a contract with the Mercury label, enter the studio and come out with Rain and Tears. For the music of this summer slow, Papathanassiou directly borrowed – he will not be the first nor the last – the majestic canvas of Canon by Pachelbel. The text, in English, was entrusted to a local, Boris Bergman, future lyricist of Alain Bashung. The angelic voice of Demis Roussos and the neo-baroque arrangements close to The Left Banke do the rest: published in July 1968, this millionaire single triumphed at the top of the French charts.

You have 49.87% of this article left to read. The following is for subscribers only.

) [summary] => Evangelos Odysseas Papathanassiou, nicknamed “Vangelis”, in Paris, on October 20, 1992. GEORGES BENDRIHEM / AFP For ordinary mortals, he is the author of an Olympic theme, which goes without saying for a Greek citizen. An ostinato produced by a sequencer, enhanced by two synthesizer notes as if to announce a sunrise over the ocean. A ... Read more [atom_content] =>

For ordinary mortals, he is the author of an Olympic theme, which goes without saying for a Greek citizen. An ostinato produced by a sequencer, enhanced by two synthesizer notes as if to announce a sunrise over the ocean. A stunning drum machine effect, triplets used as a melodic motif, precedes the piano exposition of a tubesque theme, before an even more lyrical chorus. The image of British athletes, all dressed in white, who are preparing for the 1924 games in Paris, by running along a beach, comes to mind. And the plot of chariots of fire (1981), a film by Hugh Hudson which won four Oscars, one necessarily going to the author of the music: Vangelis. The soundtrack rose to the top of the American charts with sales reaching one million copies.

This instrumental with international repercussions should be programmed as a priority to salute the disappearance of the Greek composer, who died on Tuesday May 17 in a French hospital, at the age of 79. Because after the release of the film, this Titles that we will rename Chariots of Fire continued its sporting career thanks to its repeated use, by the organizers as well as by television, during successive editions of the Olympic Games. Which could hide the rest of a work that made Vangelis, alongside Wendy Carlos and Giorgio Moroder, a master of synthetic music in cinema. More cult among soundtrack fans is indeed his score composed in stride for Blade Runner (1982), by Ridley Scott, a perfect symbiosis of epic grandeur and harrowing climates.

Before becoming this mysterious sorcerer of synths, Evangelos Odysseas Papathanassiou, born on March 29, 1943 in Agria, Thessaly, had known a popstar celebrity within Aphrodite’s Child, the most famous Greek group abroad. Whose singer and guitarist was not unknown either since it was Demis Roussos (1946-2015). Before joining their talents in 1967, these two were already stars in their countries, Papathanassiou as leader and organist of the Forminx, one of those countless garage groups that existed almost everywhere in the world, imitating the sound of the British invasion initiated by the Beatles. Before the dictatorship of the colonels tragically whistles the end of recess.

His destiny is played out in Paris in May 1968

Aphrodite’s Child then plans to settle in London, but it is in Paris that its destiny will be played out in May 1968. The group is stuck in the capital, without it being known whether it is the fault of the strikes or administrative formalities. He nevertheless took the opportunity to sign a contract with the Mercury label, enter the studio and come out with Rain and Tears. For the music of this summer slow, Papathanassiou directly borrowed – he will not be the first nor the last – the majestic canvas of Canon by Pachelbel. The text, in English, was entrusted to a local, Boris Bergman, future lyricist of Alain Bashung. The angelic voice of Demis Roussos and the neo-baroque arrangements close to The Left Banke do the rest: published in July 1968, this millionaire single triumphed at the top of the French charts.

You have 49.87% of this article left to read. The following is for subscribers only.

) [6] => Array ( [title] => “Giulio Cesare” in the antechamber of death [link] => https://movs.world/culture/giulio-cesare-in-the-antechamber-of-death/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Thu, 19 May 2022 15:38:32 +0000 [category] => CultureantechamberCesareDeathGiulio [guid] => https://movs.world/culture/giulio-cesare-in-the-antechamber-of-death/ [description] => Sabine Devieilhe (Cleopatra) and Carlo Vistoli (Ptolemy) in “Julius Caesar in Egypt”, at the Théâtre des Champs-Elysées in Paris, May 7, 2022. VINCENT PONTET A dream cast, a director who has already proven himself at the Paris Opera with a Barber of Seville which never stops bouncing back, it is an understatement to say that ... Read more [content] => Array ( [encoded] =>

A dream cast, a director who has already proven himself at the Paris Opera with a Barber of Seville which never stops bouncing back, it is an understatement to say that this new production of the Julius Caesar by Handel at the Théâtre des Champs-Elysées was at the heart of expectations and attention. But the real imperator of the evening will be none other than maestro Philippe Jaroussky, a countertenor who has become a conductor, whose Parisian debut at the head of his ensemble Artaserse (founded in 2022) immediately attracted acclaim as at circus games, as soon as he appears in the pit. A plebiscite which will prove to be amply deserved as the musician develops a fine and committed vision, giving each scene its content of atmospheres.

Read also: Article reserved for our subscribers Classical music: Philippe Jaroussky’s “First Homicide”

Jaroussky obviously knows the score inside out – he who has so often played the role of Sesto –, its subtleties, its pitfalls, and we could not have expected anything less than this preserved balance between musicians and singers. Admittedly, the opening could have been more biting, certain contrasts more emphasized, the dramatic line more assertive, but the work of the Artaserse ensemble brings in subtlety what dramaturgy sometimes loses in power, in perfect harmony with the ritualized spirit. The staging. Those who were indeed expecting a show in line with Michieletto’s crazy and supercharged Rossini were at their expense. A disappointment loudly manifested by final boos.

funeral wrap

The director is however far from having been unworthy: his choice of a Caesar obsessed with his own end (he will actually die assassinated five years later) is in line with the tragic lineage of the story, which is corroborated by immediately the sacrificial murder of Pompey beheaded by Ptolemy. This fatal premonition is symbolized by three naked Fate goddesses, with tanned complexions, braced bodies from which flow black and long serpentine hair. Illuminated in cadaverous mode, they haunt the stage with their obsessive slowness. Same funeral wrap with the omnipresence of the body of Pompey, whose murder is accomplished in the prologue via a tricky interlacing of red threads, a symbol of the lives that women are working to cut.

Jaroussky develops a fine and committed vision, giving each scene its content of atmospheres

Mourned by his wife and son, whose desire for revenge will grow stronger, lamented by Caesar, this death hovers over the opera, from the bleeding head brought in a wooden box to the ghost with pockets full of sand, passing through the ghost whose multiplied ashes will fall heavily from the hangers, before the mute reappearance of a naked and white ghost, finally statuefied like a commander. Loves with Cleopatra will pass into the background, and Caesar celebrating his victory will be struck by the vision of the conspirators in togas brandishing their daggers, like the painting painted by Vincenzo Camuccini, Caesar’s death.

You have 45.64% of this article left to read. The following is for subscribers only.

) [summary] => Sabine Devieilhe (Cleopatra) and Carlo Vistoli (Ptolemy) in “Julius Caesar in Egypt”, at the Théâtre des Champs-Elysées in Paris, May 7, 2022. VINCENT PONTET A dream cast, a director who has already proven himself at the Paris Opera with a Barber of Seville which never stops bouncing back, it is an understatement to say that ... Read more [atom_content] =>

A dream cast, a director who has already proven himself at the Paris Opera with a Barber of Seville which never stops bouncing back, it is an understatement to say that this new production of the Julius Caesar by Handel at the Théâtre des Champs-Elysées was at the heart of expectations and attention. But the real imperator of the evening will be none other than maestro Philippe Jaroussky, a countertenor who has become a conductor, whose Parisian debut at the head of his ensemble Artaserse (founded in 2022) immediately attracted acclaim as at circus games, as soon as he appears in the pit. A plebiscite which will prove to be amply deserved as the musician develops a fine and committed vision, giving each scene its content of atmospheres.

Read also: Article reserved for our subscribers Classical music: Philippe Jaroussky’s “First Homicide”

Jaroussky obviously knows the score inside out – he who has so often played the role of Sesto –, its subtleties, its pitfalls, and we could not have expected anything less than this preserved balance between musicians and singers. Admittedly, the opening could have been more biting, certain contrasts more emphasized, the dramatic line more assertive, but the work of the Artaserse ensemble brings in subtlety what dramaturgy sometimes loses in power, in perfect harmony with the ritualized spirit. The staging. Those who were indeed expecting a show in line with Michieletto’s crazy and supercharged Rossini were at their expense. A disappointment loudly manifested by final boos.

funeral wrap

The director is however far from having been unworthy: his choice of a Caesar obsessed with his own end (he will actually die assassinated five years later) is in line with the tragic lineage of the story, which is corroborated by immediately the sacrificial murder of Pompey beheaded by Ptolemy. This fatal premonition is symbolized by three naked Fate goddesses, with tanned complexions, braced bodies from which flow black and long serpentine hair. Illuminated in cadaverous mode, they haunt the stage with their obsessive slowness. Same funeral wrap with the omnipresence of the body of Pompey, whose murder is accomplished in the prologue via a tricky interlacing of red threads, a symbol of the lives that women are working to cut.

Jaroussky develops a fine and committed vision, giving each scene its content of atmospheres

Mourned by his wife and son, whose desire for revenge will grow stronger, lamented by Caesar, this death hovers over the opera, from the bleeding head brought in a wooden box to the ghost with pockets full of sand, passing through the ghost whose multiplied ashes will fall heavily from the hangers, before the mute reappearance of a naked and white ghost, finally statuefied like a commander. Loves with Cleopatra will pass into the background, and Caesar celebrating his victory will be struck by the vision of the conspirators in togas brandishing their daggers, like the painting painted by Vincenzo Camuccini, Caesar’s death.

You have 45.64% of this article left to read. The following is for subscribers only.

) [7] => Array ( [title] => Forest Whitaker, a Healer’s Palm [link] => https://movs.world/culture/forest-whitaker-a-healers-palm/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Thu, 19 May 2022 04:37:34 +0000 [category] => CultureForestHealerspalmWhitaker [guid] => https://movs.world/culture/forest-whitaker-a-healers-palm/ [description] => American Forest Whitaker, actor, director and film producer. AUDOIN DESFORGES / PASCO He advances with small cautious steps, his meter-eighty-eight slightly bent, he stretches out his hand with a timid gesture and slips without laughing: “I know you, don’t I? I’ve seen your photo somewhere before. » Certainly, it surprises. We laugh but he doesn’t. ... Read more [content] => Array ( [encoded] =>

He advances with small cautious steps, his meter-eighty-eight slightly bent, he stretches out his hand with a timid gesture and slips without laughing: “I know you, don’t I? I’ve seen your photo somewhere before. » Certainly, it surprises. We laugh but he doesn’t. Forest Whitaker, 61, the man who appears in the credits of a hundred films, six times in the official selection at Cannes, to whom a Palme d’honneur was awarded on Tuesday May 17, has kindness printed on his forehead.

Her voice is soft, the delivery monotonous: “I think I’m trying to figure out how to put more joy in my life. There are, yes. But a part of me needs healing. You will notice that the subject of the films I have made is always healing. And I believe that the work I do in the world with my foundation allows me to better understand the depths of human emotions. And that helps me understand mine. Healing others helps to heal oneself. »

Ten years ago, Clint Eastwood’s Charlie Parker (Bird, 1988), le Ghost Dog by Jim Jarmush (1999), by Idi Amin Dada by Kevin Macdonald (The Last King of Scotland, 2006) created an NGO, the Whitaker Peace & Development Initiative. However, it all started there, precisely, during the shooting in Uganda of the film on the famous dictator for which he will obtain the Oscar for best actor.

Read the 2007 review: “The Last King of Scotland”: portrait of a bloodthirsty jester

“The more it went, the more I got involved”

For the first time, in 2005, Forest Whitaker landed on the African continent. “My role as an actor was to understand what it was like to live there,” says the actor, who has always made it a point of honor to inhabit his roles. For the film, he even learns the accordion, which the despot plays. An actor offers him to go visit an orphanage in the north of the country. He meets child soldiers there. “And there, in their eyes, he says, I saw something I had seen in the eyes of gang members I had known growing up in my neighborhood in Los Angeles. And this link haunted me. So I started to help, to build a dormitory, to dig wells, my daughter created a computer center… And the more it went, the more I got involved. »

This is how he found himself face to face with Ban Ki-moon, the Secretary General of the United Nations at the time, to plead the cause of these populations decimated by the conflicts, and that he ended up creating an NGO which works to resolve them. Not only in Africa, but also in Mexico, Los Angeles or Aubervilliers (Seine-Saint-Denis). Principle: capillarity, training the people of the place so that they swarm. If we want to resolve conflicts, we must give people the tools for dialogue. If we want to overcome the traumas, teach them to look them in the face. And if we want to give them the means to create wealth, prime the pump. Hosted in the offices of Unesco in Paris, the NGO has grown from about thirty children to more than 1.5 million people concerned by its programs.

You have 50.74% of this article left to read. The following is for subscribers only.

) [summary] => American Forest Whitaker, actor, director and film producer. AUDOIN DESFORGES / PASCO He advances with small cautious steps, his meter-eighty-eight slightly bent, he stretches out his hand with a timid gesture and slips without laughing: “I know you, don’t I? I’ve seen your photo somewhere before. » Certainly, it surprises. We laugh but he doesn’t. ... Read more [atom_content] =>

He advances with small cautious steps, his meter-eighty-eight slightly bent, he stretches out his hand with a timid gesture and slips without laughing: “I know you, don’t I? I’ve seen your photo somewhere before. » Certainly, it surprises. We laugh but he doesn’t. Forest Whitaker, 61, the man who appears in the credits of a hundred films, six times in the official selection at Cannes, to whom a Palme d’honneur was awarded on Tuesday May 17, has kindness printed on his forehead.

Her voice is soft, the delivery monotonous: “I think I’m trying to figure out how to put more joy in my life. There are, yes. But a part of me needs healing. You will notice that the subject of the films I have made is always healing. And I believe that the work I do in the world with my foundation allows me to better understand the depths of human emotions. And that helps me understand mine. Healing others helps to heal oneself. »

Ten years ago, Clint Eastwood’s Charlie Parker (Bird, 1988), le Ghost Dog by Jim Jarmush (1999), by Idi Amin Dada by Kevin Macdonald (The Last King of Scotland, 2006) created an NGO, the Whitaker Peace & Development Initiative. However, it all started there, precisely, during the shooting in Uganda of the film on the famous dictator for which he will obtain the Oscar for best actor.

Read the 2007 review: “The Last King of Scotland”: portrait of a bloodthirsty jester

“The more it went, the more I got involved”

For the first time, in 2005, Forest Whitaker landed on the African continent. “My role as an actor was to understand what it was like to live there,” says the actor, who has always made it a point of honor to inhabit his roles. For the film, he even learns the accordion, which the despot plays. An actor offers him to go visit an orphanage in the north of the country. He meets child soldiers there. “And there, in their eyes, he says, I saw something I had seen in the eyes of gang members I had known growing up in my neighborhood in Los Angeles. And this link haunted me. So I started to help, to build a dormitory, to dig wells, my daughter created a computer center… And the more it went, the more I got involved. »

This is how he found himself face to face with Ban Ki-moon, the Secretary General of the United Nations at the time, to plead the cause of these populations decimated by the conflicts, and that he ended up creating an NGO which works to resolve them. Not only in Africa, but also in Mexico, Los Angeles or Aubervilliers (Seine-Saint-Denis). Principle: capillarity, training the people of the place so that they swarm. If we want to resolve conflicts, we must give people the tools for dialogue. If we want to overcome the traumas, teach them to look them in the face. And if we want to give them the means to create wealth, prime the pump. Hosted in the offices of Unesco in Paris, the NGO has grown from about thirty children to more than 1.5 million people concerned by its programs.

You have 50.74% of this article left to read. The following is for subscribers only.

) [8] => Array ( [title] => “The Eight Mountains”, a fable with a stiff morality on the return to nature [link] => https://movs.world/culture/the-eight-mountains-a-fable-with-a-stiff-morality-on-the-return-to-nature/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Wed, 18 May 2022 17:36:32 +0000 [category] => CulturefableMoralitymountainsnaturereturnstiff [guid] => https://movs.world/culture/the-eight-mountains-a-fable-with-a-stiff-morality-on-the-return-to-nature/ [description] => « Les Huit Montagnes », the Charlotte Vandermeersch et Felix Van Groeningen. PYRAMIDE DISTRIBUTION OFFICIAL SELECTION – IN COMPETITION Kicking off the competition, Charlotte Vandermeersch’s first four-handed feature with Felix Van Groeningen (The shit of things2009, Alabama Monroe, 2012) comes to occupy a box well known to festival-goers, that of the “lesson of life and ... Read more [content] => Array ( [encoded] =>

OFFICIAL SELECTION – IN COMPETITION

Kicking off the competition, Charlotte Vandermeersch’s first four-handed feature with Felix Van Groeningen (The shit of things2009, Alabama Monroe, 2012) comes to occupy a box well known to festival-goers, that of the “lesson of life and authenticity”. The Flemish duo adapts an eponymous book by Paolo Cognetti which takes place in the alpine heights of Val d’Aosta. The Eight Mountains (“Les Huit Montagnes”) recounts the lifelong friendship between two children, Pietro and Bruno. One city rat from Turin, the other country rat, native of the mountain pastures, who become adults by meeting each year in this mountainous Eden, where they build a common house with their hands.

The mountain is much more than a setting here: a system of natural “values” that unite the two men against the urban way of life and the world of money. But steep solitudes can also turn the heads of mere mortals and engulf them.

Read also: “The Merditude of things”: initiation novel in the middle of beer mugs

Built like a long existential chronicle, this fable on the return to nature, which, as we know, does not lie, diffuses throughout, on a decorative landscaping, a stuffy morality, like its little edifying music that we have sometimes hard to distinguish from a personal development manual. The purely conventional friendship between the two protagonists is described here as an absolute, never discussed, rarely questioned. The lesson of life stretches in length by dint of remaining centered on an immobile relationship, invested with a pseudo-truth fabricated from scratch.

Italian, Belgian and French film by Charlotte Vandermeersch and Felix Van Groeningen. With Luca Marinelli, Alessandro Borghi, Filippo Timi, Elena Lietti (2 h 27). Theatrical release December 21.

) [summary] => « Les Huit Montagnes », the Charlotte Vandermeersch et Felix Van Groeningen. PYRAMIDE DISTRIBUTION OFFICIAL SELECTION – IN COMPETITION Kicking off the competition, Charlotte Vandermeersch’s first four-handed feature with Felix Van Groeningen (The shit of things2009, Alabama Monroe, 2012) comes to occupy a box well known to festival-goers, that of the “lesson of life and ... Read more [atom_content] =>

OFFICIAL SELECTION – IN COMPETITION

Kicking off the competition, Charlotte Vandermeersch’s first four-handed feature with Felix Van Groeningen (The shit of things2009, Alabama Monroe, 2012) comes to occupy a box well known to festival-goers, that of the “lesson of life and authenticity”. The Flemish duo adapts an eponymous book by Paolo Cognetti which takes place in the alpine heights of Val d’Aosta. The Eight Mountains (“Les Huit Montagnes”) recounts the lifelong friendship between two children, Pietro and Bruno. One city rat from Turin, the other country rat, native of the mountain pastures, who become adults by meeting each year in this mountainous Eden, where they build a common house with their hands.

The mountain is much more than a setting here: a system of natural “values” that unite the two men against the urban way of life and the world of money. But steep solitudes can also turn the heads of mere mortals and engulf them.

Read also: “The Merditude of things”: initiation novel in the middle of beer mugs

Built like a long existential chronicle, this fable on the return to nature, which, as we know, does not lie, diffuses throughout, on a decorative landscaping, a stuffy morality, like its little edifying music that we have sometimes hard to distinguish from a personal development manual. The purely conventional friendship between the two protagonists is described here as an absolute, never discussed, rarely questioned. The lesson of life stretches in length by dint of remaining centered on an immobile relationship, invested with a pseudo-truth fabricated from scratch.

Italian, Belgian and French film by Charlotte Vandermeersch and Felix Van Groeningen. With Luca Marinelli, Alessandro Borghi, Filippo Timi, Elena Lietti (2 h 27). Theatrical release December 21.

) [9] => Array ( [title] => Volodymyr Zelensky stars in American Festival opening ceremony [link] => https://movs.world/culture/volodymyr-zelensky-stars-in-american-festival-opening-ceremony/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Wed, 18 May 2022 06:35:35 +0000 [category] => CultureAmericanceremonyFestivalOpeningstarsVolodymyrZelensky [guid] => https://movs.world/culture/volodymyr-zelensky-stars-in-american-festival-opening-ceremony/ [description] => Volodymyr Zelensky speaks live during the opening ceremony of the 75th edition of the Cannes Film Festival, May 17, 2022. CHRISTOPHE SIMON / AFP Tuesday, May 17, at 7 p.m., the seventy-fifth edition of the International Film Festival was inaugurated, ready to sail under full sail with a contained pandemic and the announced return of ... Read more [content] => Array ( [encoded] =>

Tuesday, May 17, at 7 p.m., the seventy-fifth edition of the International Film Festival was inaugurated, ready to sail under full sail with a contained pandemic and the announced return of professionals. It fell to the mermaid Virginie Efira to embody, all in silver lamé, matching ring and streaming blonde hair, the undulating adornment of the opening ceremony.

On the other side of the decor, at the helm, a new armada. That of France Télévisions, which replaces Canal+ for the official coverage of the festival and which has gone all out by mobilizing all its channels. It is also the return of the historic producer of the Cannes television ceremonial, Renaud Le Van Kim, ousted from Canal+ a few years ago, who returns to operations both with the public service group and with Brut, a high-performance information platform that he has created in the meantime, and which should bring a new strike force, towards young people on the one hand, and abroad on the other, to the disclosure of the event.

Read also: Article reserved for our subscribers Caprices of stars, schoolboy humor and grandiose parties: at the Cannes Film Festival, the Roaring Twenties Canal

It is true that the old lady from Cannes, with her more or less outdated rituals and her immutable appearance, demands to be both respected and jostled. The world around her is on fire, the images migrate, as for the cinema, it trembles on its foundations. We will not repeat here, for the thousandth time, the reasons, while vaticinating on his approaching death and invoking optional the ghosts that dig his grave.

Virginie Efira delivers a speech at the opening ceremony of the Cannes Film Festival, May 17, 2022.

The current challenge of the festival would not be understood, however, without having this great theater of change and the danger of these abysses in mind. Thierry Frémaux the first, in the columns of the magazine Ecran total of May, worries about it: “In twenty-five years, our children shouldn’t ask us why we let cinemas die. » Even though they will reproach us, more surely, for having ransacked the entire planet, we can clearly see that today the challenge of the festival, more than ever, consists in sparing the light and the heavy, the glamorous and the tragic, dream and worry.

Read also: Article reserved for our subscribers Is the cinema dead or alive, jostled by the platforms and weakened by the Covid?

Tears in the eyes, standing ovations and collective vibratos

If he needed a more than encouraging sign of how he intends to take it up, the opening ceremony gave it in barely an hour. She was perfect from start to finish. Imprint of sobriety, dignity, emotion, surprise, accuracy. So far from the heights of boredom and self-satisfaction that this kind of event too often provokes.

Undoubtedly, the awareness that the hour was serious had a lot to do with it. And the art of dialectic was so well carried out there, between the din of the world and the way in which the cinema responds to it, between the love of men and the courage of ideas by which the seventh art, in that it has more noble, takes us away without firing a shot. A ceremony that took place in short like a film, in a dramaturgy whose success is to be credited to many talents. First of all, the scenography, wide open to the city thanks to panels where the urban landscape itself was filmed. Beautiful idea that this link restored between the closed vase of the ceremony and the surrounding reality. The mistress of ceremonies, beautiful, vibrant, herself affected, and sometimes overwhelmed, by the emotion of such and such a moment. The president of the jury, Vincent Lindon, author of a speech written and read on stage without failing, of an incredible outfit, to celebrate this “Weapon of Massive Emotion” what is cinema.

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) [summary] => Volodymyr Zelensky speaks live during the opening ceremony of the 75th edition of the Cannes Film Festival, May 17, 2022. CHRISTOPHE SIMON / AFP Tuesday, May 17, at 7 p.m., the seventy-fifth edition of the International Film Festival was inaugurated, ready to sail under full sail with a contained pandemic and the announced return of ... Read more [atom_content] =>

Tuesday, May 17, at 7 p.m., the seventy-fifth edition of the International Film Festival was inaugurated, ready to sail under full sail with a contained pandemic and the announced return of professionals. It fell to the mermaid Virginie Efira to embody, all in silver lamé, matching ring and streaming blonde hair, the undulating adornment of the opening ceremony.

On the other side of the decor, at the helm, a new armada. That of France Télévisions, which replaces Canal+ for the official coverage of the festival and which has gone all out by mobilizing all its channels. It is also the return of the historic producer of the Cannes television ceremonial, Renaud Le Van Kim, ousted from Canal+ a few years ago, who returns to operations both with the public service group and with Brut, a high-performance information platform that he has created in the meantime, and which should bring a new strike force, towards young people on the one hand, and abroad on the other, to the disclosure of the event.

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It is true that the old lady from Cannes, with her more or less outdated rituals and her immutable appearance, demands to be both respected and jostled. The world around her is on fire, the images migrate, as for the cinema, it trembles on its foundations. We will not repeat here, for the thousandth time, the reasons, while vaticinating on his approaching death and invoking optional the ghosts that dig his grave.

Virginie Efira delivers a speech at the opening ceremony of the Cannes Film Festival, May 17, 2022.

The current challenge of the festival would not be understood, however, without having this great theater of change and the danger of these abysses in mind. Thierry Frémaux the first, in the columns of the magazine Ecran total of May, worries about it: “In twenty-five years, our children shouldn’t ask us why we let cinemas die. » Even though they will reproach us, more surely, for having ransacked the entire planet, we can clearly see that today the challenge of the festival, more than ever, consists in sparing the light and the heavy, the glamorous and the tragic, dream and worry.

Read also: Article reserved for our subscribers Is the cinema dead or alive, jostled by the platforms and weakened by the Covid?

Tears in the eyes, standing ovations and collective vibratos

If he needed a more than encouraging sign of how he intends to take it up, the opening ceremony gave it in barely an hour. She was perfect from start to finish. Imprint of sobriety, dignity, emotion, surprise, accuracy. So far from the heights of boredom and self-satisfaction that this kind of event too often provokes.

Undoubtedly, the awareness that the hour was serious had a lot to do with it. And the art of dialectic was so well carried out there, between the din of the world and the way in which the cinema responds to it, between the love of men and the courage of ideas by which the seventh art, in that it has more noble, takes us away without firing a shot. A ceremony that took place in short like a film, in a dramaturgy whose success is to be credited to many talents. First of all, the scenography, wide open to the city thanks to panels where the urban landscape itself was filmed. Beautiful idea that this link restored between the closed vase of the ceremony and the surrounding reality. The mistress of ceremonies, beautiful, vibrant, herself affected, and sometimes overwhelmed, by the emotion of such and such a moment. The president of the jury, Vincent Lindon, author of a speech written and read on stage without failing, of an incredible outfit, to celebrate this “Weapon of Massive Emotion” what is cinema.

You have 35.03% of this article left to read. The following is for subscribers only.

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