{"id":5284,"date":"2019-09-17T19:20:33","date_gmt":"2019-09-17T16:20:33","guid":{"rendered":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2019\/?p=5284"},"modified":"2019-09-17T19:20:33","modified_gmt":"2019-09-17T16:20:33","slug":"winners-of-the-palme-dor-and-main-cannes-prizes-in-premiere-at-les-films-de-cannes-a-bucarest-from-october-18th-to-27th","status":"publish","type":"post","link":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2019\/winners-of-the-palme-dor-and-main-cannes-prizes-in-premiere-at-les-films-de-cannes-a-bucarest-from-october-18th-to-27th\/","title":{"rendered":"Winners of the Palme d\u2019Or and main Cannes prizes, in premiere at Les Films de Cannes \u00e0 Bucarest, from October 18th to 27th"},"content":{"rendered":"

An elegiac contemplation on death and creation coming from an extravagant Spanish master, a burlesque film about roots and identity, a devastating social satire resisting all etiquettes, a moving, feminist period story and a mesmerizing and stylized commentary on happiness. Five of the most awarded and acclaimed films of the year. Five reasons for which the Cannes Film Festival remains the most important source of cinematic masterpieces and a reflection of unconventional, provoking, vibrant, captivating and polarizing auteur cinema. Perpetually revelatory.<\/p>\n

Having reached the tenth edition, the Les Films de Cannes \u00e0 Bucarest<\/strong> festival will once again present the most important works of auteur cinema of the year, in premiere, between October 18th<\/sup> and 27th<\/sup>.<\/p>\n

Pedro Almod\u00f3var<\/strong>, the flamboyant Spanish filmmaker, was honoured as a contemporary master at Cannes in 2004 when his film, La mala educaci\u00f3n<\/em>, was chosen as the ice-breaker of the festival. Two years later, Volver <\/em>was awarded Best Screenplay, a prize which added to the Best Director trophy for Todo sobre mi madre<\/em>, in 1999. In 2019, Almod\u00f3var made a comeback in the official competition with Dolor y Gloria<\/em><\/strong><\/a>, the seventh collaboration with Antonio Banderas, in the role of a lifetime, which brought him the award for Best Actor.<\/p>\n

Salvador Mallo (Antonio Banderas), a physically declining film director, experiences several revelations. Rediscovering his past, Salvador feels the compelling need to narrate it, and, on account of this inner pressure, he finds salvation. The film is part of a triptych that started with La ley del deseo <\/em>(1987) and was followed by La mala educaci\u00f3n<\/em>. A compendium and meditation on the author\u2019s recurring themes, the film was adored by the Spanish press and audience, which was unexpected for the controversial Almod\u00f3var. A Spanish critic described it as a \u201cdark and obsessive, but, at the same time, generous, full of light and emotion\u201d piece of cinema. \u201cA kind of miracle\u201d, subtitled Variety<\/em>, for which Banderas, according to his declarations, had to murder his own personality in order to recreate an alter ego of the director. The result of this extraordinary collaboration is a \u201csensuous and deeply personal gem, a film about pleasure, which is itself a pleasure\u201d (The Guardian<\/em>).<\/p>\n

Born in 1960 in Nazareth, Elia Suleiman<\/strong> encountered success with his very own debut: his first feature film, Chronicle of a Disappearance<\/em>, was declared the best film of 1996, at Venice. In 2002, Divine Intervention <\/em>won the Cannes Jury Prize. Often compared with filmmakers like Jacques Tati and Buster Keaton, Suleiman has a similar poetic sentiment, but adds playfulness and sobriety to his work.<\/p>\n

In It Must Be Heaven <\/em><\/strong><\/a>(Jury Special Mention at Cannes 2019) the director emigrates from Palestine in search of a new \u201chome\u201d, but soon realizes that his origin country follows him around like a shadow. A burlesque film exploring images of identity, nationality and belonging, all while the director poses a paramount question: where can you feel \u201cat home?\u201d. \u201cFilmmaker and actor Elia Suleiman uses his own face and body to express the soul of Palestine in his films, and nowhere more so than in his droll new comedy\u201d, Hollywood Reporter<\/em> writes.<\/p>\n

Before becoming a filmmaker, Bong Joon-ho<\/strong> studied sociology and film at the Fine Arts Academy in Korea. The Host<\/em>, screened at Cannes in 2006, in Quinzaine des R\u00e9alisateurs, built up his reputation as one who turns genre films into art. In 2009, he presented Mother <\/em>in the Un Certain Regard section, and in 2017, he entered the official competition with the caustic satire Okja<\/em>.<\/p>\n

Parasite<\/em><\/strong><\/a> (Gisaengchung) <\/em>won the Palme d\u2019Or of the 2019 edition of the Cannes Film Festival and is one of those rare masterpieces which stirred the ovations of the jury, critics, and public alike. The film tells the story of the Ki-taek family, who are unemployed and seem to be very interested in the life of the rich Parks. One day, their son manages to get a recommendation to do English tutoring for the Park family, which marks the beginning of a long series of uncontrollable events. Variety <\/em>comments that \u201cKorean auteur Bong Joon-ho is on excoriating form in his exceptional pitch-black tragicomedy about social inequality in modern Korea\u201d, Time Magazine <\/em>considers the film to be an \u201cexample of good storytelling, with lively characters, it has the ability to cut you open and it can leave you mulling over it for days on end\u201d. Times<\/em> concludes: Parasite<\/em><\/strong><\/a> \u201cis the masterpiece towards which the auteur\u2019s entire career led to\u201d. The films Dolor y Gloria<\/em><\/strong><\/a>, It Must Be Heaven<\/em><\/strong><\/a> and Parasite<\/em><\/strong><\/a> are distributed in Romania by Independen<\/strong>\u021ba Film<\/strong>.<\/p>\n

At nearly 40-years-old, filmmaker C\u00e9line Sciamma<\/strong> has achieved the incredible feat of presenting no less than three films in Cannes: Naissance des pieuvres<\/em> in the Un Certain Regard section in 2006, Bande des filles<\/em> in Quinzaine des R\u00e9alisateurs in 2014, and Portrait de la jeune fille en feu <\/em><\/strong><\/a>(Best Screenplay Award) in the Official Selection, in 2019.<\/p>\n

The story of Portrait de la jeune fille en feu <\/em><\/strong><\/a>takes place in 1770. Marianne is a painter commisioned to do H\u00e9lo\u00efse\u2019s portrait, a young female aristocrat recently returned from a monastery, who, however, refuses to pose. Marianne will have to paint her in secret. \u201cFar from some stuffy costume drama, it\u2019s a deeply stirring romance with a modern soul, and also a forcefully, compassionately feminist one\u201d, the Americans from AV Club<\/em> write.<\/p>\n

The Austrian filmmaker Jessica Hausner<\/strong> has become the \u201cchild prodigy\u201d of Austrian cinema after she received in 1999 a special mention from the Cin\u00e9fondation<\/em> jury for her graduation film. The Cannes Festival selected three of her feature films Lovely Rita<\/em> (2001), Hotel<\/em> (2004) and Amour Fou<\/em> (2014) for the Un Certain Regard section. All three films attest the filmmaker\u2019s acuteness and her refusal to compromise artistically. Little Joe <\/em><\/strong><\/a>(Best Actress for Emily Beecham, Cannes 2019) marks her first entry in Official Competition.<\/p>\n

Even for someone with a career as unpredictable as Jessica Hausner, Little Joe <\/em><\/strong><\/a>surprises: it is a stylized clinic commentary on human vanity and on the commodification of happiness. The film tells the story of a brilliant plant designer, who suspects that her latest creation, a flower enabling people\u2019s happiness, subtly modifies the personalities of those who inhale its pollen. \u201cBoldly synthetic in its approach, in everything from colour palette to performance style, this film won\u2019t be for everyone. And the fact that it defies easy categorisation might present a marketing challenge. But for those who engage with it, this oddly off-kilter piece of storytelling should exert a pull every bit as mesmerising as any genetically modified mood-enhancing shrub.\u201d, Screen Daily<\/em> writes.<\/p>\n

Keep up to date with the latest news regarding the 2019 edition of Les Films de Cannes \u00e0 Bucarest, <\/strong>on the official website filmedefestival.ro<\/a> and on the official Facebook page. Tickets will soon be available on Eventbook.ro<\/strong>.<\/p>\n

Les Films de Cannes \u00e0 Bucarest <\/strong>is presented by<\/strong> Orange Romania, a traditional partner of the event. Offical Car of the Festival<\/strong>: Renault. With the support of<\/strong>: Catena, Apa Nova, Groupama Asigur\u0103ri. Les Films de Cannes \u00e0 Bucarest is a cultural project financed by<\/strong> the National Centre of Cinematography, and and realized with the support of SACD \/ Soci\u00e9t\u00e9 des Auteurs et Compositeurs Dramatiques. Partners<\/strong>: Air France, KLM, The Romanian Cultural Institute, Europa Cinemas, Hotel Mercure, SERVE, UPS, Eventbook. The tenth edition of Les Films de Cannes \u00e0 Bucarest<\/strong> is organized<\/strong> by the Cinemascop Association and Voodoo Films.<\/p>\n<\/div>

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