{"id":6425,"date":"2019-10-07T21:00:18","date_gmt":"2019-10-07T18:00:18","guid":{"rendered":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2019\/?p=6425"},"modified":"2019-10-07T22:58:48","modified_gmt":"2019-10-07T19:58:48","slug":"ladj-ly-the-new-rebel-of-cannes-special-guest-at-les-films-de-cannes-a-bucarest","status":"publish","type":"post","link":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2019\/ladj-ly-the-new-rebel-of-cannes-special-guest-at-les-films-de-cannes-a-bucarest\/","title":{"rendered":"Ladj Ly, the new rebel of Cannes, special guest at LES FILMS DE CANNES \u00c0 BUCAREST"},"content":{"rendered":"

-five films that sparked polemics on the Croisette, included in the official selection-<\/strong><\/p>\n

No Cannes edition can go by without a picking of controversial, excessive, provoking and inflictive films. In its turn, Les Films de Cannes \u00e0 Bucarest<\/em> has put together an affecting\u00a0 selection of the most discussed and controversial films of the 2019 edition. The new prodigy of French cinema, Ladj Ly, will be present in Bucharest to talk about how it feels to start a cinematographic revolution from the outskirts.<\/p>\n

Les Mis\u00e9rables<\/em><\/strong>, directed by Ladj Ly, Jury Prize (ex-aequo), Cannes 2019<\/strong><\/p>\n

\u201cIf you really want to start a revolution, then you need to take to the streets every day\u201d, says filmmaker Ladj Ly, whose debut feature film was included in the official competition at Cannes. \u201cAnyone who thinks the story is a retelling of the Victor Hugo classic would be mistaken\u201d, Variety<\/em> writes. \u201cBut there\u2019s a reason it shares the same title: Part of the book takes place in Montfermeil, the working-classic suburb where Ly grew up. A century later, there\u2019s still misery in this area, and police violence remains a factor\u2026\u201d<\/p>\n

The film centres around three members of the anti-crime brigade who confront tensions between neighbourhood gangs. Inspired by the riots of 2005 in Paris, Mathieu Kassovitz\u2019s cult film, La Haine<\/em>, and by Ly\u2019s short film bearing the same title, winner of a C\u00e9sar award, Les Mis\u00e9rables <\/em>is a provoking perspective on tensions between marginal residents and police.<\/p>\n

The fimmaker declares it is crucial people that people who lived in these places to tell their stories and he feels frustration towards the really small number of filmmakers of colour in today\u2019s France. \u201cFrench cinema is very closed; it\u2019s reserved for a certain elite. You can count the black filmmakers on one hand,\u201d he says in the same interview. \u201cThat\u2019s why we started our film school.\u201d Called Kourtrajm\u00e9, the same name as the filmmaking collective where he got his start, Ly says the free school will give anyone who wants to participate the chance to network and seize the opportunity to join the next generation of French storytellers. \u201eIt\u2019s a school anyone can access \u2013 there are no fees. We need to get involved, take control and start changings things. I don\u2019t want things imposed on us. We know these territories and we know how to act. Since Macron\u2019s election, there are even more social problems. We have been protesting these conditions in our city for 20 years, but nothing has changed. Before, people couldn\u2019t care less because it was about the periphery, now, all French citizens are affected. We are under the impression that politicians don\u2019t care.\u201d<\/p>\n

At Cannes, Les Mis\u00e9rables<\/em><\/strong> was unanimously acclaimed and managed to outdo Tarantino, Almod\u00f3var, Loach and Dolan in the competition for the Jury Prize. \u201eA technical gem and an astonishing debut,\u201d Variety<\/em> writes. Ly became a star overnight. Broadcasting rights for the American market were immediately bought by Amazon for 1.5 million dolars, the biggest sale for a Cannes debutant in history.<\/p>\n

Bacurau<\/em><\/strong>, directed by Kleber Mendon\u00e7a Filho and Juliano Dornelles, Jury Prize (ex-aequo), Cannes 2019<\/p>\n

An intense and complex portrait of a Brasilian community fighting against the dark specter of modernity. \u201eA wonderful and demented Western about the perils of rampant modernization.\u201d Indiewire<\/em><\/p>\n

\u201eJust as the memorable Aquarius<\/em> of 2016, Bacurau<\/em> centres around an incredibly stubborn woman refusing to give up her place in the world. The filmmaker combines it all, from Seven Samurai <\/em>to Hostel<\/em>, in a bloody and unapologetic \u2018damn you\u2019 addressed to all who think revolutionary technology gives them green light to turn the world into a personal slaughterhouse\u201d Variety<\/em> comments on it, while The Guardian<\/em> deems it \u201ea Jacobean-style bloodbath,\u00a0 an utterly distinctive film-making, executed with ruthless clarity and force.\u201d<\/p>\n

The Wild Goose Lake<\/em><\/strong>, directed by Diao Yinan, Cannes 2019<\/p>\n

A runaway gangster looking for redemption… A girl in danger risking everything in order to earn her freedom… Both chased on some lakeshores, on what might be their last day alive. \u201e\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Diao Yinan delivers the ultimate Chinese noir, in which the ravishing style and the creative mise-en-sc\u00e8ne forge the substance of it. This is a film that lives in its vibrant craft and fluid reimagining of scenarios that should be stale clich\u00e9s by now. Reteaming with cinematographer Dong Jinsong, Diao shows an extraordinarily elastic mastery of form. An atmospheric and hyperstylized drama… infused with a minimalist existentialism at the sclae of Jean Pierre Melville… Suddenly, China feels like the noirest place on Earth.\u201d Variety<\/em><\/p>\n

Beanpole<\/em><\/strong>, directed by Kantemir Balagov, Best Director under the Un Certain Regard section, Canne 2019<\/p>\n

1945, Leningrad. World War II has devastated the city and its inhabitants\u2019s psyche. Two young girls seek a new life among the ruins.<\/p>\n

\u201eFor any regular cinema-goer, it can come as a shock to realize that we can still be totally annihilated by the projected moving image. But though Balagov proved willing to cross ethical lines for shock value in his otherwise impressive debut, \u201cCloseness,\u201d here the devastation is earned through nothing more gimmicky than exceptional directorial control and riveting craft. Beanpole<\/em> is incredibly bleak, but crafted with such care that it\u2019s also deeply compelling. Events so disturbing that you long to look away are presented in images so striking that you cannot. So though Balagov can be merciless with respect to his characters\u2019 fates, his compassion for them shows through formally: While they\u2019re being psychologically stripped bare, they are accorded at least the dignity of a beautiful, considered frame.\u201d Variety<\/em><\/p>\n

The Invisible Life of Eur\u00eddice Gusm\u00e3o<\/em><\/strong>,\u00a0 directed by Karim A\u00efnouz, Un Certain Regard Prize, Cannes 2019<\/p>\n

\u201eA \u201etropical melodrama\u201d is how the marketing materials bill The Invisible Life of Eur\u00eddice Gusm\u00e3o<\/em>. If that sounds about the most high-camp subgenre ever devised, Karim A\u00efnouz\u2019s ravishing period saga lives up to the description \u2014 high emotion articulated with utmost sincerity and heady stylistic excess, all in the perspiring environs of midcentury Rio de Janeiro \u2014 while surprising with its pointed feminist politics and occasionally sharp social truths. Anyone already familiar with A\u00efnouz\u2019s work will know to expect a florid sensory experience, but even by the Brazilian\u2019s standards, this heartbroken tale of two sisters separated for decades by familial shame and deceit is a waking dream, saturated in sound, music and color to match its depth of feeling. From the first, jungle-set shot, the redoubtable d.p. H\u00e9l\u00e8ne Louvart gives the film the daubed, traffic-light palette of a ripe mango…\u201d Variety<\/em><\/p>\n

Beanpole <\/em>and Les Mis\u00e9rables <\/em>will be distributed in cinemas by Independen\u021ba Film.<\/p>\n

The complete program of the tenth edition of Les Films de Cannes \u00e0 Bucarest<\/em> is available on the site<\/a>.<\/p>\n

At PRO Cinema, Elvire Popesco Cinema, Peasant Museum Cinema, Romanian National Museum of Art \u2013 Auditorium Hall<\/strong>, the tickets prces are 15 lei for tickets purchased by 18thOctober and 20 lei fro tickets purchased during the festival (18th \u2013 27th October 2019). At Union Cinematheque<\/strong> tickets cost 10 lei or 8, 5, 3 lei for subscription holders.<\/p>\n

Tickets can be purchased from Eventbook.ro, the Eventbook headquarters in Actor Ion Brezoianu Street 21, the Eventbook network and from the cash desks of Elvire Popesco Cinema, Peasant Museum Cinema and Union Cinematheque. More details about tickets can be found on the site<\/a>.<\/p>\n

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

Les Films de Cannes \u00e0 Bucarest<\/strong> is presented by<\/strong> Orange Romania, a traditional partner of the event.
\nOfficial Car of the Festival<\/strong>: Renault.
\nWith the support of<\/strong>: Catena, Apa Nova, Groupama Asigur\u0103ri.
\nThe tenth edition of Les Films de Cannes \u00e0 Bucarest<\/strong> is organized<\/strong> by the Cinemascop Association and Voodoo Films, in partnership with<\/strong> Embassy of France and the French Institute in Bucharest.
\nLes Films de Cannes \u00e0 Bucarest is a cultural project financed by<\/strong> the 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.
\nPartners<\/strong>: Air France, KLM, The Romanian Cultural Institute, Europa Cinemas, Hotel Mercure, SERVE, UPS, Eventbook.
\nMedia partners<\/strong>: Radio Rom\u00e2nia Cultural, Zile \u0219i Nop\u021bi, Elle, Observatorul Cultural, News.ro, Ziarul Metropolis, AaRC, Movienews, Igloo, Banchiza Urban\u0103, FilmNewEurope, Cineghid, Cinemap, Agerpres, Liternet, FilmMenu.
\nMedia coverage partner<\/strong>: Mediatrust<\/p>\n<\/div>

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