Charlotte Gainsbourg and the glory of her mother, Matt Damon infiltrated on the Croisette

Charlotte Gainsbourg and the glory of her mother, Matt Damon infiltrated on the Croisette
Charlotte Gainsbourg and the glory of her mother, Matt Damon infiltrated on the Croisette

Thursday July 8 – The organization of the festival gets its feet in the carpet, the daughter of Gainsbourg unveils her documentary on Jane Birkin, François Ozon illuminates his film in competition on euthanasia. All this before the arrival of the talented Mr. Damon.

A miracle only happens once. Sophie Marceau climbed the stairs on Wednesday and everything went well. Beside him, André Dussollier looked as fresh as a roach. Benjamin Griveaux was also, with his wife Julia Minkowski, at the Palais des festivals. At the exit, the former minister crosses the crowd quickly, avoiding glances. The jokers wonder if he came to Cannes to present a video. In front of him, the tail lengthens visibly. After the gala screening takes place that of Jane by Charlotte. She will be half an hour late. As a result of a poorly developed online ticketing and heavy health constraints, the organization of this 74th edition is having its feet in the carpet.

Read also :Embarkation for Cannes: Bong Joon-ho down the masks, Sophie Marceau at the top of the steps

Bouncing on stage, the imperturbable Thierry Frémeaux ensures that the teams “do their bestAnd asks the malcontents to stop booing. The delegate general demands applause for Jane Birkin and Charlotte Gainsbourg, both dressed in black. Two sisters, it seems. A thousand spectators stand up as one man. Like one woman, Mélanie Laurent would correct.

All about his mother

In the documentary, the tender Charlotte Gainsbourg revolves around her mother. There is a sense of urgency. She wants to produce images that are truer than any that have already circulated. Charlotte continues to look at Jane with her childish eyes. The struggling daughter moves more than the rebellious mother. Secrets stir under conversations. They don’t hatch. The muse of the 1970s opens up but does not reveal itself. Away, in her beautiful Breton home, she remains like a mother of oil. Charlotte Gainsbourg in her quest for truth is the film’s only interest. But why make all this public?

Thursday April 8. Cannes is reaching cruising speed. German model Leonie Hanne struggles to fit her impressive green tulle dress into the waiting sedan. Spike Lee signs posters with his effigy. Sophie Marceau sticks her tongue out at the selfies of her fans. Even the president of the festival Pierre Lescure, 76, threw a photo of him putting on his tuxedo on social networks. The small storm, which blew on Twitter on the evening of the opening ceremony, is already far away. Some were surprised that the guests did not respect the sanitary instructions. The opposite of toothless? The sans-masks.

While less popular than the charity gala against AIDS, AmfAR (Freida Pinto, Milla Jovovich and Alicia Keys are expected on Friday), it remains an event. A film from Bangladesh was presented in competition for the first time. Rehana Maryam Noor by Abdullah Mohammad Saad, 36, selected Un certain regard. Where a teacher learns that a student has been sexually assaulted by one of her colleagues. With terrifying tenacity, she wants to overthrow male omnipotence. The camera does not lack finesse, the scenario is straightforward. But what lengths.

Ozon dared: he made a film on euthanasia. He adapted the book by his friend Emmanuèle Bernheim, who died in 2017. At a press conference, the filmmaker rejects any hint of political combat. What interests him is “the intimate“. He wanted “confront the viewer with the same questionsThan those of the characters. Géraldine Pailhas and Sophie Marceau praise the profession of actor. André Dussollier, too, liked to play this role of helplessness, of a father who wants to die for the love of life. He quotes Al Pacino: “The more it is away from you, the easier it is to play“. In conferences, the presenters no longer talk about actors or producers: they are “talents“. Funny presumption.

Thursday evening, it is even a star who will jump from one step to another. Matt Damon, Hollywood surety for Cannes, accompanies Still Water by Tom McCarthy. A thriller with Camille Cottin shot two hours away, in Marseille. Tickets for his master class, which will be given the next day, were snapped up in no time. The American actor disembarked in the afternoon at the Martinez, greeted by the general manager. In a black t-shirt and sunglasses, he looks strangely like Jason Bourne.

Benjamin Puech

Read also :Embarkation for Cannes: Bong Joon-ho down the masks, Sophie Marceau at the top of the steps


Cannes Cancans

Dive into the deep end

Leïla Bekhti is preparing to direct her first film. His history ? “Siblings having to make a decision“And free yourself from”looks from others», She explains in Nice morning. The actress and companion of Tahar Rahim, present in the jury, already knows the title of this future feature film: “Looking at us, they will get used to“. These are words written by René Char in his collection Les Matinaux: “Impose your luck, squeeze your happiness and go towards your risk. Watching you, they will get used to it.»

A star, but an architect

The doors of the Cineum, at Bocca, opened on July 6, at the start of the 74th edition of the festival. This is a new multiplex with the best screens in Europe according to Pierre Lescure and Thierry Frémeaux. Twelve rooms and nearly 2,500 seats. The project was entrusted to star architect Rudy Ricciotti. Five restaurants will eventually join the premises. To see if festival-goers will adopt this cinema accessible by bus from the Croisette.


Cinema service ticket

So when do we start? Seeing a Cannes film, in any section, is like an obstacle course GONZALO FUENTES / REUTERS

« So may we start ? »

In Cannes, the speed of the festival Croisette takes on the appearance of snail races. Some festival-goers even begin to hum through their clenched teeth: « So may we start ? » resuming angrily the “Sparksian” prologue ofAnnette, Carax’s opening film… So when do we start? Seeing a Cannes film, in any section, is like an obstacle course. Between the incessant bugs of the festival’s online ticketing site slyly announcing “Availability pending”, the lines of masked people who stretch in circles or squares for hundreds of meters because of the sanitary distances to be respected, the tests which prove to be out of date, tense the following spectators, the various malfunctions (some e-tickets indicate a session in a room while the printed program evokes another, who can believe?), without forgetting the delays in launching the sessions, this 74th edition accumulates cries and coughs. To the classic outfit of the festival-goer wearing his badge over the shoulder in all circumstances (pastille or not), is added an increasingly noticeable sneer of weariness. The viral reign of digitized programming is wreaking havoc. Scene seen at the office of the Directors’ Fortnight: an apparitor, his ear glued to his phone, explains the clear air that “Everything is now dematerialized”. “The organizers too? “, risque-t-on… “For any specific request, I invite you to contact …”, begins to answer the young man, before being cut off by a bored festival-goer: “Pfff! Don’t listen. Him, it is his brain that must be dematerialized! “

 
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