{"id":11587,"date":"2021-10-18T11:23:08","date_gmt":"2021-10-18T11:23:08","guid":{"rendered":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/battle-of-the-titans-the-masters-of-cannes-return-to-bucharest-from-22-to-31-october-tickets-for-the-12th-edition-of-les-films-de-cannes-a-bucharest-are-on-sale\/"},"modified":"2021-11-24T09:38:17","modified_gmt":"2021-11-24T09:38:17","slug":"battle-of-the-titans-the-masters-of-cannes-return-to-bucharest-from-22-to-31-october-tickets-for-the-12th-edition-of-les-films-de-cannes-a-bucharest-are-on-sale","status":"publish","type":"post","link":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/battle-of-the-titans-the-masters-of-cannes-return-to-bucharest-from-22-to-31-october-tickets-for-the-12th-edition-of-les-films-de-cannes-a-bucharest-are-on-sale\/","title":{"rendered":"Battle of the titans: the masters of Cannes return to Bucharest from 22 to 31 October! Tickets for the 12th edition of Les Films de Cannes \u00e0 Bucharest are on sale."},"content":{"rendered":"

Look out for an epic clash of the titans! This is not a Hollywood blockbuster, but a Les Films de Cannes \u00e0 Bucarest super-selection that brings together the biggest names in this year’s edition on the Croisette. Tickets for the screenings have gone on sale and seats are extremely limited due to restrictions.
\nCannes showcases an enormous number of productions: tough, crazy, committed, important, bold, violent or very confusing. But if they come with an important pedigree attached, it’s immediately noticeable: there’s nothing more exciting than the presence of big names, filmmakers whose careers are inseparably linked to the world’s biggest film festival. After an atypical year, when the event stopped its competition and screenings due to the pandemic, 2021 marked the return in force of sacred monsters who were once again challenged to prove their worth against the onslaught of young “revelations”.
\nFew filmmakers can claim as convincingly as Jaques Audiard that cinema runs in their blood. Born in Paris, the director is the son of famous screenwriter Michel Audiard. After enrolling at the Sorbonne to become a professor of literature and philosophy, he dropped out and joined a film crew as an assistant editor. He went on to become a screenwriter famous for his ability to create distinct, visceral and sometimes bleak worlds with characters who reinvigorate common stories. His directorial debut, See How They Fall (1994) shows his capability of being a creative force in French cinema. His period film A Self-Made Hero (1996) won the best screenplay award at Cannes. The Beat My Heart Skipped (2005) won a BAFTA Award for Best Foreign Film and A Prophet (2009) won the Grand Jury Prize at Cannes. The drama Dheepan (2015) managed to claim its biggest trophy – the Palme d’Or – at the same festival.
\nLES OLYMPIADES won the Best Soundtrack award at Cannes 2021. In the film, \u00c9milie meets Camille who is attracted to Nora, who crosses paths with Amber. Three girls and a boy – they’re friends, sometimes lovers, most of the time both. “Feels like Audiard\u2019s attempt to inaugurate a Millennial New Wave, \u201cJules and Jim,\u201d but with a synth-pop soundtrack,” writes The Playlist.
\nAlthough he hasn’t directed many films, French filmmaker Gaspar No\u00e9 has made a resounding impact by creating some of Europe’s darkest, most polarising and disturbing films. Since his 1988 debut I Stand Alone, he has stirred controversy due to his ambitious, adventurous and deliberately provocative films. Whether it’s the exploration of sexual violence in Irr\u00e9versible, the hallucinogenic experience of Enter the Void, the improvised scenes of explicit sex in Love, No\u00e9 has not shied away from subjects other filmmakers would avoid. Even Climax, his most accessible film, remains provocative. Detested or adored, No\u00e9 is a unique filmmaker, capable of stirring strong and visceral reactions with his work.
\nVORTEX, a film presented in a special screening under the Cannes Premi\u00e8re label, pushes the challenge to another level of supportability, depicting the last days of an elderly couple of senile lovers. “With its uncommonly human touch and restless, unflinching visual aesthetic, \u201cVortex\u201d might well be Noe\u2019s finest and most thoughtful work. ,” posits The Wrap. “Here’s an utterly sober experience, troubling in a very new way for No\u00e9. It\u2019s his most mature film, an unabashedly and audaciously experimental work,” gloats Screen International.
\nBut it wasn’t Vortex that was the most scandalous film of the edition, it was the “sulphurous” BENEDETTA, directed by another great master of provocation: Paul Verhoeven. Here, a 17th century nun indulges in forbidden lesbian love as her shocking religious views threaten to shake the church to its foundations. Cannes was rocked, too, where outraged reactions were quick to follow. But the controversy was overshadowed by the film’s complex core: “treading with precarious balance across the boundaries of different genres and tones, Benedetta provokes striking questions about sexual freedom and its relationship to faith,” wrote The Film Experience. “Verhoeven once again pushes all the buttons that will titillate, provoke, excite, offend and \u2014 a quality he\u2019s maintained throughout the decades \u2014 mix impudent and outrageous conceits with serious smarts,” Deadline Hollywood Daily concluded. Not surprising, because Paul Verhoeven is, after all, an outrageous man by vocation. After an important European career, the Dutch director moved to Hollywood, where he excelled in the big-budget world, exercising his vivid imagination to become a master of visceral, explosive and polemical modern sensations (whether we’re talking Total Recall or Basic Instinct). Back in Europe, he made waves with the outrageous Elle in 2016 at Cannes, in the official competition.
\nAnother sacred monster – this time from Hollywood – returns to the competition after his 1991 entry with the disturbing The Pledge as director. This time Sean Penn is the author of FLAG DAY, inspired by a true story. Dylan Penn, his real-life daughter, is his partner in an intimate family portrait of a young woman struggling to overcome the ghosts of her past while trying to reconcile the unbreakable bond between a daughter and a father. “Subtle flourishes and evanescent feeling abound throughout Flag Day, in which the dauther’s idealized vision of her father feels simultaneously shining and impossibly tarnished,” writes The Washington Post.
\nArnaud Desplechin, one of Cannes favorites (another way of saying that the festival practically launched and nurtured his career), has been in the official competition since his first feature, the much celebrated La Sentinelle. He returned with Comment je me suis disput\u00e9… (ma vie sexuelle) to launch a new generation of French actors. In this film, the director confiscates all the usual ingredients of “French auteur cinema” to give them a romantic dimension thanks to a highly fluid choral narrative. Not infrequently, his performers are rewarded with the festival’s top trophies. In 2016, Desplechin received the Cesar Prize for Trois souvenirs de ma jeunesse, which had a brilliant premiere at the Cannes Film Festival and cemented his status as one of the most respected French filmmakers of his generation. Desplechin had three films in the official competition, one in Un Certain Regard and two out of competition.
\nTRomperie’s action takes place in 1987 in London. Philip is a famous American writer living in exile. His mistress visits him regularly at the office that has become a refuge for the two. There they make love, argue, reconcile and talk for hours – about the women who have shaped his life, about sex, anti-Semitism, literature and personal integrity. After the Cannes premiere, Variety noted L\u00e9a Seydoux’s ” bright yet slippery presence” as an obscure object of desire who gradually reveals her protagonist’s flaws and keeps us involved in the story, and Screen International that “Trumpeting is touching and entertaining.”
\nNanni Moretti, a revered master of the sketch, has built a reputation as an Italian Woody Allen due to some introspective directorial efforts, with irreverent humour, in which he cast himself in the lead role. Often both director and producer and screenwriter, this eccentric visionary has made a strong impression since his comic debut I Am Self Sufficient (1976) and has continued to excite with his distinctive blend of satire, surrealism and autobiographical themes in international hits such as La messa e finita (1984), Caro diario (1993) and Aprile (1998) that have revealed ever deeper facets of his character. Moretti achieved his greatest commercial and critical success with La stanza del figlio (2001), winner of the Palme d’Or.
\nIn 2021, Moretti returned with THREE FLOORS, the story of three families living in three apartments in the same luxury housing complex, which was said to be “an intriguing canvas that allows for piercing observations, especially thanks to excellent performances from the radiant Margherita Buy, the hypnotic Rohrwacher, and debutante Denise Tantucci” – Edge Media Network.
\nWith the intriguing and brave COW, Andrea Arnold returns to Cannes to show us a few years in the life of an English dairy cow. “Cow doesn\u2019t interrogate the motives behind that process \u2014 leave that to Fast Food Nation and its ilk \u2014 but it does a fine job of generating empathy from one scene to the next, and using that power to craft a hypnotic spell rife with significance.” headlines Indiewire.
\nArnold is, without question, one of the “enfant terrible” of the Croisette. Both her first (Red Road) and her second film (Fish Tank) were in the official competition at Cannes and won the Jury Prize, before also winning the BAFTA. In 2011, the phenomenal Arnold adapts the classic novel ‘Wuthering Heights’ and takes it to the Venice Film Festival. In 2016, she returns to the competition at Cannes with American Honey and wins the third jury prize.
\nAleksey German Jr. had an extraordinary, intensely artistic relationship with his father, the legendary Aleksey German. Talent, it seems, is hereditary, and German Jr. has become a major name in the new Russian cinema, with appearances at the Venice and Berlin film festivals. HOUSE ARREST is his first film in official competition at Cannes. The film is about a university professor who is placed under house arrest after criticising his town’s administration. An unequal David versus Goliath battle unfolds. “House Arrest makes us acknowledge the uncomfortable truth that not all virtuous activists and intellectuals are easy to bear without complications” admits Review Online.
\nBut the “glory” of Cannes is not only the great masters and award-winning filmmakers, but also the revelations, the young talents that the festival, an extraordinary artistic platform, discovers and promotes. One of them is Kira Kovalenko, winner of the Un Certain Regard section with her film UNCLENCHING THE FISTS. In a small mining town in North Ossetia, young Ada tries to escape the stifling atmosphere of a family she loves as much as she despises. “A frenzied vocal tone and wild, untethered physicality connects all the performances, with every character seemingly eager to burst out of their own body, and by extension, the life in which it\u2019s stranded,” acclaims Variety, which finds Kovalenko has crafted a “gripping, hypnotic, utterly breathtaking story.”
\nEqually unclassifiable is LAMB by the surprising Valdimar J\u00f3hannsson, a filmmaker who will be present in Bucharest for the screening of his film. A childless couple in rural Iceland make an alarming discovery in a sheep pen. Soon, they will have to face the consequences of defying the laws of nature in this atmospheric and dark fable that marks a sickly imaginative and highly promising debut. “It\u2019s the sweetest, most touching waking nightmare you\u2019ve ever experienced.,” writes Rolling Stones, and the Chicago Reader points out that “Lamb oscillates between the splendid and the horrific.”
\nHIT THE ROAD, a film by the young Panah Panahi, son of renowned Iranian director Jafar Panahi, centres on a chaotic yet tender family trip across a rugged landscape to nowhere. “The son of Iranian filmmaker Jafar Panahi delivers a supple yet impressive drama with excellent comic notes” hails Deadline Hollywood, while Screen International notes that the film “brims with energy and exuberant humour, but can also be gently devastating”.
\nTickets are available on Evenbook.ro and on www.filmedefestival.ro you can find out more about the announced films and the festival programme. The spot of the 12th edition is made by Foarfeca Studio and can be seen on: https:\/\/youtu.be\/seqTdkOAkt8
\nLes Films de Cannes \u00e0 Bucarest Festival is presented by Orange Romania, a traditional partner of the event.
\nInspired by: UniCredit Bank
\nSupported by: Sun Wave Pharma, Apa Nova, Groupama, Dacin Sara, Mercure Hotels, Catena
\nCultural project funded by: Ministry of Culture and National Identity, National Cinema Centre, SACD, French Embassy and French Institute of Romania<\/p>\n

Project co-funded by the City of Bucharest through ARCUB within the programme ‘Bucharest – Open City’ 2021. For detailed information about the funding programme of the Bucharest City Hall through ARCUB, please visit www.arcub.ro<\/p>\n

Official car: Renault
\nFestival coffee: Nespresso
\nFestival hub: Lokal<\/p>\n

Partners: National Art Museum of Romania, Peasant Museum Cinema, Romanian Cinematheque, Avanpost, Multimedia Est, Europa Cinemas, Serve, C\u0103rture\u0219ti Bookshops, Verona Garden, Eventbook<\/p>\n

Main media partners: Radio Guerrilla, TVR, Agerpres
\nMedia partners: Zile \u0219i Nop\u021bi, Cinemap, Cinemagia, Ziarul Metropolis, Film Menu, iQAds, Smark, Movie News, LiterNet, The Institute, ELLE, Senso TV, Tonica, AARC, CineGhid, Munteanu, Films in Frame, Radio Rom\u00e2nia Cultural, Blitz TV, Dentsu, Igloo
\nCultural partner: RFI Romania<\/p>\n

The 12th edition of Les Films de Cannes \u00e0 Bucarest is organised by the Cinemascop Association and Voodoo Films.<\/p>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":9771,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86,89],"tags":[],"class_list":["post-11587","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-comunicate-presa","category-noutati"],"_links":{"self":[{"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/posts\/11587","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/comments?post=11587"}],"version-history":[{"count":5,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/posts\/11587\/revisions"}],"predecessor-version":[{"id":11595,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/posts\/11587\/revisions\/11595"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/media\/9771"}],"wp:attachment":[{"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/media?parent=11587"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/categories?post=11587"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2021\/en\/wp-json\/wp\/v2\/tags?post=11587"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}