The 77th Cannes Film Festival is coming to an end, and while the spotlights turn to the closing ceremony and the long -awaited revelation of the charts, a reflection on the quality of the films in competition this year is essential. From May 14 to 25, 2024, the Croisette vibrated to the rhythm of projections, press conferences and meetings between moviegoers and cinema professionals. However, this edition was marked by a palpable disappointment among festival -goers and criticism.
Despite the effervescence and expectations aroused by The presence of big names in cinemamany agree that the quality of the films presented was well below expectations. One could almost believe that the festival favored the notoriety of directors to the detriment of the film substance. But perhaps also that the best films of the year were simply less impressive than expected.
Unpaid expectations:
Megalopolis by Francis Ford Coppola was undoubtedly the most anticipated film of this edition. Coppola, a living cinema legend, had taken years to refine this project, going so far as to mortgage his vineyard to finance it. The announcement of Adam Driver’s participation in the main role had only amplified the craze. Unfortunately, this ambitious film turned out to be a huge disappointment. Long and confused, Megalopolis failed to captivate its audience, dividing criticism and spectators. If some isolated voices praised the film as a masterpiece, the majority found the experience tedious and not very coherent.
The Shrouds (the shrouds) De David Cronenberg promised a fascinating exploration of love and mourning, with a synopsis which suggested a beautiful romance beyond death. However, after promising beginnings, the film quickly rocks in a confused plot mixing advanced technology, hackers and betrayals, losing the initial emotional thread that had captured the audience.
Parthenope De Paolo Sorrentino started with enchanting plans of Naples, his favorite city, marked by a visual poetry which is the signing of the director. But the enchantment fades quickly, giving way to lengths and a monotony which have disillusioned even the most fervent admirers of Sorrentino.
Motel Destino by Karim Aïnouz, after successes like The invisible life of Euridice Gusmao (Prix Un certain Regard 2019) And Mountain marine In 2021, promised a promising work. But this story of a love triangle in a sordid motel fails to merge eroticism and thriller. The characters are cold and devoid of depth, and the film is drowned in a profusion of sex scenes without real narrative substance. A work deemed disappointing, both from Aïnouz and the festival for having selected such a turnip.
Some glimmer of hope:
Despite this avalanche of disappointments, some films have still managed to get out of the game relatively. Kinds of Kindness De Yórgos Lánthimos is probably the most interesting among the achievements of the big names this year. Divided into three distinct stories, the film explores the theme of the grip in various forms. The first story, the most striking, illustrates how a person can be manipulated by material awards, to the detriment of his freedom and his self -esteem. The third story, on the other hand, addresses the influence of sects on their followers. Although interesting, the film remains perfectible and could be awarded rewards for the performance of actors, notably Emma Stone eT Jesse Plemons.
The young woman with a needle From Magnus von Horn also offers an interesting reflection through the history of a woman who killed dozens of infants at the end of the First World War, indirectly pleading for the right to abortion. The realization is subtle and the actress, Victoria Carmen rings, was excellent. It could deserve the price of the best female interpretation.
The essentials of the charts:
In contrast to these disappointments, The seeds of the wild figthe latest film by Iranian director Mohammad Rasoulof, stands out clearly. Arrived in Europe a few days ago after leaving Iran clandestinelyMohammad Rasoulof received an ovation of almost 22 minutes yesterday morning after the screening of his film at the Grand Lumière theater.
Video here:
This film recounts the break-up of a family in Tehran during the bloody repression movement against the youth after the murder of Mahsa Amini by the police for non-port of the veil. A father, freshly elected investigator, opposes his daughters who see their friends arrested and tortured. Soon, the storm of the street will rush into this family, showing the consequences of these demonstrations from the interior of a family and the opposition between conservative adults and this new youth which aspires to freedom. With its 168 minutes of increasing tension and unexpected reversals, The seeds of the wild fig seems to be the ideal candidate for the Palme d’Or.
Moreover, The substance captivated the audience with its poignant exploration of the fear of old age and the incessant quest for youth. The impeccable realization, the original scenario, and the quality of the interpretations make it a candidate of choice for the golden palm, or failing that, for the Grand Prix or the price of the best achievement. This film not only captivated spectators from start to finish, but it could also mark the story by being the fourth Palme d’Or for a director, and the second for a horror film of a director after Titanium by Julia Ducournau in 2022.
All we imagine as light De Payal Kapadia also created the surprise. This Indian film, sensitive and subtle, conquered the public and could well appear in the charts, perhaps deserving the Grand Prix. The touching story of Prabha and Anu, two women of Mumbai seeking a space to express their desires, offers a rich and poignant narration.
Finally, Anora De Sean Baker deserves a special mention. This modern transformation of a failed Cinderella, telling the story of a stripper from Brooklyn who married the son of a Russian oligarch, caught attention by his captivating narration. Although this film is not targeting the Palme d’Or, it deserves a place in the charts for its ability to captivate and move.
Unfortunately I have not seen Emilia Perez by Jacques Audiard. The echoes are excellent, and it could appear in the charts.
The 77th Cannes Film Festival will remain memories for its controversial choices and unequal films. While some illustrious names have disappointed, other works have been able to emerge, recalling that cinema, even in time of disappointment, always has the capacity to surprise and move. The closing ceremony will soon reveal the winners, and by then, discussions and speculation will continue to animate the Croisette.
Neïla Driss
