{"id":5495,"date":"2019-09-26T14:52:27","date_gmt":"2019-09-26T11:52:27","guid":{"rendered":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2019\/?p=5495"},"modified":"2019-09-26T15:05:14","modified_gmt":"2019-09-26T12:05:14","slug":"the-great-cannes-masters-in-premiere-on-the-screens-of-les-films-de-cannes-a-bucarest","status":"publish","type":"post","link":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2019\/the-great-cannes-masters-in-premiere-on-the-screens-of-les-films-de-cannes-a-bucarest\/","title":{"rendered":"The great Cannes masters, in premiere, on the screens of Les Films de Cannes \u00c0 Bucarest"},"content":{"rendered":"

Tickets will be available to the public starting 1st October.<\/b><\/p>\n

Werner Herzog, Luc and Jean-Pierre Dardenne, Ken Loach, Marco Bellocchio, Arnaud Desplechin, Xavier Dolan.<\/b><\/p>\n

As always, the 2019 Cannes line-up depicted an authentic battle between the titans of heavy-duty global cinema, aged 30 to 82. A flowing face-off between creative forces of genius, which will replay in Bucharest, in October.<\/span><\/p>\n

The Cannes official selection manages to masterfully fuse young emerging talents with sacred cinema monsters, European films with novel and exciting new cinema from Asia and with long-awaited or unsuspected American pieces of cinema. This feverishly anticipated mix, continiously exciting, has become, over time, its own brand identity.<\/span><\/p>\n

Right from its very first year of existence, the festival has introduced Italian neorealism to the entire world. Since then, it has contributed not only to the discovery of several unknown cinematographies (among which the Romanian one, as well), but also to the emergence of great masters. At Cannes, glory is evoked where due, and, sometimes, pedestals are brought down. As ever, as Peter Bradshaw recently wrote for <\/span>The Guardian, \u201c<\/span><\/i>the festival has lined up its masters, its silverback gorillas of the auteur league \u2013 along with its senior trouble-makers, its disrupters, its veteran bad boys\u201d. You get to see all of them at this year\u2019s edition of <\/span>Les Films de Cannes \u00e0 Bucarest<\/i><\/b>, between <\/span>18th and 27th October, <\/b>at <\/span>Pro Cinema, Elvire Popesco Cinema, Romanian Peasant Museum Cinema, Union Cinematheque and Instituto Cervantes<\/b>.<\/span><\/p>\n

Family Romance, LLC<\/a>.<\/i><\/b>, <\/span>directed by Werner HERZOG
\n<\/b>Special screening, Cannes 2019
\n<\/span>Family affection as excuse for business: a man is hired to play the role of father of a missing 12-years-old girl. \u201cBelieve it or not, the freshest film to premiere thus far at Cannes is by a 76-year-old\u201d, Mubi writes. Self-financed and shot by Herzog himself on location in Japan (\u201cwe came close to robbing a bank\u201d, he confesses in an interview), the film has \u201cthe raw immediacy of <\/span>gonzo<\/span><\/i> adventure undertaken with minimal planning but maximum enthusiasm. The outcome seems to be something spontaneous and free, of sublime oddity and insight, blurring the lines between fiction and documentary. As in Jessica Hausner\u2019s surprisingly consonant Little Joe, Herzog is here prompting questions about the nature of authentic relationships and the perhaps misplaced or fragile value of that authenticity in our modern world.\u201d
\n<\/span>Werner Herzog, the great and eccentric German master (with 6 Cannes attendances, Best Director Award for <\/span>Fitzcarraldo, <\/span><\/i>in 1982 and FIPRESCI Award for <\/span>The Enigma of Kaspar Hauser<\/span><\/i>, in 1975), is one of the few filmmakers facilitating dynamic encounters with the world he films, undoubtedly, with fascination and wonder alike.\u00a0<\/span><\/p>\n

Le Jeune Ahmed<\/i><\/b><\/a>, directed by Luc and Jean-Pierre DARDENNE
\n<\/b>Best Director Award, Cannes 2019
\n<\/span>Along with Ken Loach, the Dardenne brothers are deemed to be the masters of humanistic cinema, with heavy social implications. Perhaps it\u2019s not a coincidence that both the brothers and the British filmmaker should be part of the select group of filmmakers who won the Palme d\u2019Or, the supreme trophy of the festival, twice. After they obsessively attempted documentary film, they began their fictional course, starting with <\/span>Falsch<\/span><\/i>, in 1987. Their third film, <\/span>La Promesse<\/span><\/i> (1996), was screened with important critical reverberation at <\/span>Quinzaine des R\u00e9alisateurs.<\/span><\/i> In 1999, they make the official competition with <\/span>Rosetta<\/span><\/i>, film which will get them the <\/span>Palme d\u2019Or<\/span><\/i>, but also the <\/span>Best Actress Award<\/span><\/i> for the debutant \u00c9milie Dequenne.
\n<\/span>The Belgian brothers built up their renown as promoters of realist cinema, however, not miserabilist, but laden with sympathy and even suspense, and also as filmmakers who push their actors to excel: Olivier Gourmet is awarded Best Actor at Cannes, in 2002, for <\/span>Le Fils<\/span><\/i>. In 2005, they attain their second and well-deserved Palme d\u2019Or for the moving <\/span>L\u2019Enfan<\/span><\/i>t. <\/span>Le silence de Lorna<\/span><\/i> seizes the <\/span>Best Screenplay Award<\/span><\/i> in 2008, and <\/span>Le gamin au v\u00e9lo <\/span><\/i>will earn them the <\/span>Grand Jury Prize<\/span><\/i>.\u00a0 This year\u2019s distinction (Best Director) turns them into some of the finest and applauded Cannes auteurs.
\n<\/span>Le Jeune Ahmed <\/span><\/i>is an extremely actual story, that of the temptation of radicalism, intensely narrated, with empathy and excellent directing skills. Set in Belgium of our time, Ahmed, a 13-years-old boy, gets caught in the purity ideals of imam and the seductions of teenage life. \u201cA film of rare potency\u201d, the French newspaper <\/span>Le Nouvel Observateur<\/span><\/i> writes, and <\/span>T\u00e9l\u00e9rama<\/span><\/i> is of the opinion that \u201cthe Dardenne brothers author a percutant portrait, infused with humanity.\u201d<\/span><\/p>\n

Roubaix, une lumi\u00e8re<\/i><\/b><\/a>, directed by Arnaud DESPLECHIN
\n<\/b>In competition, Cannes 2019
\n<\/span>Roubaix, Christmas night. Police inspector Daoud and Louis, his colleague, investigate the death of an old lady. Two young girls, Claude and Marie, are brought in for questioning. Apathetic, alcoholics, and in love with each other. Arnaud Desplechin, one of the most effervescent and innovative minds of French cinema, has been often selected at Cannes (8 attendances, out of which 6 in competition), but never awarded. Desplechin came out as a unique indescribable force with <\/span>La sentinelle<\/span><\/i>, his debut film. He then shot <\/span>Comment je me suis disput\u00e9\u2026 (ma vie sexuelle), <\/span><\/i>which presented the world with a whole new generation of French actors. The actors in his films won important prizes, among them Catherine Deneuve, highly acclaimed at Cannes, in 2008, for <\/span>Un conte de No\u00ebl<\/span><\/i>.
\n<\/span>With this new film, the director takes inspiration, for the first time, from real happenings \u2013 a sordid matter of fact from 12 years ago, whose details never stopped obsessing him. \u201cIt\u2019s a powerful film about guilt and compassion, where L\u00e9a Seydoux and Sara Forestier deliver outstanding performances\u201d, he declares for the daily newspaper <\/span>La Croix<\/span><\/i>.<\/span><\/p>\n

Sorry We Missed You<\/i><\/b><\/a>, directed by Ken LOACH
\n<\/b>In competition, Cannes 2019
\n<\/span>Ken Loach initially made his debut as a television director, after he was recruited in 1963 by BBC. However, the seduction of the big screen got the better of him and he became the most awarded British filmmaker at Cannes, obtaining two Palme d\u2019Or and other 14 selections in the official competition. Thanks to this festival, he was honoured as master of social cinema, profoundly politically engaged. In his new film, screened at Cannes this year, Ricky and his parents have been struggling with debts for a few years now, in Newcastle. Temporarily unemployed, when offered a job as a courier and driver using his own car, deems it an amazing opportunity. And so he enters the wicked spiral of <\/span>uberization<\/span><\/i>.
\n<\/span>\u201cOver more than half a century of prolific socially and politically engaged filmmaking, Ken Loach has trained his clear-eyed, compassionate gaze on the everyday struggles of the British working class. At age 82, he’s doing some of his strongest work in Sorry We Missed You, a drama of such searing human empathy and quotidian heartbreak that its powerful climactic scenes actually impede your breathing.\u201d \u2013 <\/span>Hollywood Reporter<\/span><\/i><\/p>\n

The Traitor<\/i><\/b><\/a>, directed by Marco BELLOCCHIO
\n<\/b>In competition, Cannes 2019
\n<\/span>Here is yet another sacred cinema monster, this time belonging to Italian cinematography, present in this year\u2019s official competition at Cannes. Bellocchio directs films since 1965 when, breaking away from the neorealist tradition, his politically engaged films would attack Italian symbols of conformism. With <\/span>A Leap in the Dark<\/span><\/i> (1980) he wins the two awards for acting, for Michel Piccoli and Anouk Aim\u00e9e. Then he leaps from subversive films, such as <\/span>Devil in the Flesh<\/span><\/i>, which stirs up a scandal at Cannes in 1986, to literary adaptations after Pirandello, like <\/span>The Conviction<\/span><\/i> (1991). In 2002, Marco Bellocchio pesters the Vatican once again with <\/span>My Mother\u2019s Smile<\/span><\/i>, selected in the official competition at Cannes.<\/span><\/p>\n

The Traitor<\/span><\/i>, which was given a standing ovation for 13 minutes straight by the audience on the Croisette, is set in the early \u201880s, when a war between the heads of Sicilian mafia and the clans involved in drug trafficking. Mafioso Tommaso Buscetta, afraid he will be killed, decides to contact judge Giovanni Falcone and to break his eternal oath he took for Cosa Nostra. The Italian journalists, present at Cannes, commended the film for Pierfrancesco Favino\u2019s performance, one of the most talented and versatile Italian actors, and considered Bellocchio to have made \u201cwith youthful creativity, a frank and generous film.\u201d<\/span><\/p>\n

Matthias et Maxime<\/i><\/b><\/a>, directed by Xavier DOLAN
\n<\/b>In competition, Cannes 2019
\n<\/span>Two childhood friends kiss for the shooting of an amateur short film. As a result of this kiss, seemingly innocent, they are forced to confront their own preferences, turning their lives upside down.
\n<\/span>Ten years of career and eight feature films \u2013 at only 30, Xavier Dolan, <\/span>l\u2019enfant terrible<\/span><\/i> of cinema, continues to stun and amaze. After receiving the Jury Prize for <\/span>Mommy<\/span><\/i> (2014) and the Grand Prix for <\/span>Juste la fin du monde<\/span><\/i> (2016), Xavier Dolan returns in the official competition with an intense and delicate drama, exploring friendship and personal identity. <\/span>The Guardian<\/span><\/i> writes about it as being an “unstoppably garrulous, sweet-natured new movie, a coming-of-age film, or possibly a coming-of-thirtysomethinghood film. Or perhaps it\u2019s a portrait of a bunch of friends for whom things would never be the same again after that summer. It is not exactly a sexual awakening tale because the sexuality in question never really went to sleep. But it is a love story.\u201d<\/span><\/p>\n

Le Jeune Ahmed<\/span><\/i><\/a>,\u00a0<\/span>Sorry We Missed You<\/span><\/i><\/a>\u00a0and\u00a0<\/span>The Traitor<\/span><\/i><\/a>\u00a0 are distributed in Romania by Independen\u021ba Film.<\/span><\/p>\n

As always, <\/span>Les Films de Cannes \u00e0 Bucarest <\/b>screens in premiere the Palme d\u2019Or winning film: <\/span>Parasite<\/span><\/i>, directed by Bong Joon-ho.<\/span><\/p>\n

The special guest of the festival, the French filmmaker Claude Lelouch, will commence the screening with <\/b>Un homme et une femme<\/i><\/b>, one of the few films that won both <\/span>Palme d\u2019Or<\/span><\/i> and the <\/span>Oscar<\/span><\/i>.\u00a0<\/span><\/p>\n

Keep up to date with the latest news regarding the 2019 edition of Les Films de Cannes \u00e0 Bucarest, on the official website <\/span>filmedefestival.ro<\/span><\/a>\u00a0 <\/span>and on the official Facebook page.\u00a0<\/span><\/p>\n

Tickets will be available to the public starting 1<\/b>st<\/b> October on Eventbook.ro.<\/b><\/p>\n

Les Films de Cannes \u00e0 Bucarest<\/b> is <\/span>presented by<\/b> Orange Romania, a traditional partner of the event.
\n<\/span>Official Car of the Festival<\/b>: Renault.
\n<\/span>With the support of<\/b>: Catena, Apa Nova, Groupama Asigur\u0103ri.
\n<\/span>The tenth edition of <\/span>Les Films de Cannes \u00e0 Bucarest<\/b> is <\/span>organized<\/b> by the Cinemascop Association and Voodoo Films, <\/span>in partnership with<\/b> Embassy of France and the French Institute in Bucharest.<\/span><\/p>\n

Les Films de Cannes \u00e0 Bucarest is a <\/span>cultural project financed by<\/b> the <\/span>Ministry of Culture and National Identity, the National Centre of Cinematography, and and realized with the support of SACD \/ Soci\u00e9t\u00e9 des Auteurs et Compositeurs Dramatiques.\u00a0<\/span><\/p>\n

Partners<\/b>: Air France, KLM, The Romanian Cultural Institute, Europa Cinemas, Hotel Mercure, SERVE, UPS, Eventbook.
\n<\/span>Media partners<\/b>: Radio Rom\u00e2nia Cultural, Elle, Zile \u0219i Nop\u021bi, Cinemap, News.ro, Agerpres, Observator Cultural, Igloo, Banchiza Urban\u0103.<\/span><\/p>\n<\/div>

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