{"id":12132,"date":"2022-09-26T12:38:23","date_gmt":"2022-09-26T12:38:23","guid":{"rendered":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/metronom-to-open-les-films-de-cannes-a-bucharest-sweden-is-the-country-in-focus-at-the-13th-edition\/"},"modified":"2022-09-26T19:16:40","modified_gmt":"2022-09-26T19:16:40","slug":"metronom-to-open-les-films-de-cannes-a-bucharest-sweden-is-the-country-in-focus-at-the-13th-edition","status":"publish","type":"post","link":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/metronom-to-open-les-films-de-cannes-a-bucharest-sweden-is-the-country-in-focus-at-the-13th-edition\/","title":{"rendered":"Metronom to open Les Films de Cannes \u00e0 Bucharest. Sweden is the country in focus at the 13th edition."},"content":{"rendered":"

Metronom to open Les Films de Cannes \u00e0 Bucharest.
\nSweden is the country in focus at the 13th edition.<\/b><\/h3>\n<\/div>

A new generation of Scandinavian filmmakers is making waves, following in the footsteps of Ingmar Bergman, Lars von Trier and the Dogma movement: this year, three completely different directors with equally strong visions participated in the Cannes competition. All are linked to the famous “Swedish school of filmmaking”. This is an ideal opportunity for <\/span>Les Films de Cannes \u00e0 Bucarest .13<\/b> to offer Romanian spectators an unmissable<\/span> Focus Sweden<\/b>. <\/span>
\n<\/span>
\n<\/span>Swedish cult director Ruben \u00d6stlund, winner of the Palme d’Or in 2017 for <\/span>The Square<\/span><\/i>, returned to Cannes this year with <\/span>Triangle of Sadness<\/i><\/b>, with which he claimed the ultimate trophy once again. This fresh, sardonic masterpiece was joined by two other films by up-and-coming filmmakers, originally immigrants, that audiences can see this year: Tarik Saleh’s <\/span>Boy from Heaven<\/i><\/b><\/a>, from Sweden – Best Screenplay Award, Cannes 2022, and Danish-Iranian Ali Abbasi’s <\/span>Holy Spider<\/i><\/b><\/a> – Best Actress Award, Cannes 2022 for Zar Amir Ebrahimi.<\/span><\/p>\n

Nordic filmmakers<\/span> “often push the boundaries of cinematic language”, <\/span><\/i>says Claus Christensen, editor of the Danish film magazine Ekko.<\/span> “It’s about entertainment, but the aim is also to challenge the audience. The director has the freedom to explore his artistic vision, whatever it may be.”\u00a0<\/span><\/i><\/p>\n

Abbasi, born in Iran 40 years ago, educated in Sweden and based in Denmark, made his second appearance in Cannes this year, having previously won the 2018 Un Certain Regard section with <\/span>Border<\/span><\/i>, an eccentric, fantastical film about a border police officer. His new film, <\/span>Holy Spider<\/i><\/b><\/a>, is the gritty tale of a serial killer who “cleanses” the Iranian holy city of Mashhad of sex workers. <\/span>“You can’t pigeonhole him. When you think you’ve defined him, he changes shape and becomes something else,”<\/span><\/i> his producer Jacob Jarek told Agence France-Presse. Abbasi recently finished filming episodes for HBO’s upcoming post-apocalyptic series, <\/span>The Last of Us<\/span><\/i>, based on a video game. <\/span><\/p>\n

\"\"<\/a><\/p>\n

Ali Abbasi’s <\/span>Holy Spider<\/i><\/b><\/a> ingeniously manages to bridge the gap between social realism and “consumer” cinema in a way that suggests both are rooted in a similar area of gritty authenticity. This versatility defines his generation, says Jarek. The previous wave of Nordic filmmakers, such as von Trier and Thomas Vinterberg, gained international fame with the Dogma movement, which established strict filmmaking rules designed to ensure a frustrated realism to their work. But the new generation is <\/span>“more willing to work with genres and combine them: to make comedies and lighter things mixed with darker elements,”<\/span><\/i> Jarek added.<\/span><\/p>\n

Both Abbasi’s and Saleh’s films draw heavily on their immigrant backgrounds. Abbasi left Tehran for Sweden in 2002 and later settled in Denmark, while Saleh was born in Stockholm to a Swedish mother and Egyptian father.<\/span><\/p>\n

Saleh’s background was crucial to the making of <\/span>Boy from Heaven<\/i><\/b><\/a>, he told Cannes press: <\/span>“I think there’s a reason why a lot of directors have immigrant backgrounds, like Francis Ford Coppola and Milo\u0161 Forman. You’re positioned inside and outside of something. In a way, this is the role of the director… to see the similarities as well as the differences.”<\/span><\/i> Boy from Heaven<\/i><\/b><\/a> is a dark thriller set in Cairo about an impoverished boy who wins a scholarship to the prestigious Al-Azhar University, where he finds himself drawn into a brutal power struggle between Egypt’s religious and political elites. Being an outsider was crucial, Saleh said. “No one had ever entered Al-Azhar University with a camera before. An Egyptian filmmaker would go to jail if he did,” he told AFP. A former graffiti artist, Saleh grew up with a filmmaker father and worked in his film studio before attending an art school in Alexandria. As well as directing episodes of cult series <\/span>Westworld<\/span><\/i> and <\/span>Ray Donovan<\/span><\/i>, his 2017 film <\/span>The Nile Hilton Incident<\/span><\/i>, also set in Cairo, won the Grand Jury Prize at Sundance.<\/span><\/p>\n

\"\"<\/p>\n

\u00d6stlund, the doyen of the trio with six feature films to his credit, brought his first English-language film to Cannes. <\/span>Triangle of Sadness<\/i><\/b> is a savage satire of the world of fashion and the rich, but also a scathing critique of society’s emphasis on beauty.<\/span><\/p>\n

At the 13th edition of <\/span>Les Films de Cannes \u00e0 Bucarest<\/i><\/b>, not only the Nordic but also the local creative force will be reconfirmed. The festival will open with one of the most talked about and awarded productions of the moment, <\/span>Metronom<\/i><\/b><\/a>.<\/span><\/p>\n

\"\"<\/a><\/p>\n

In 1972, while \u021airiac and N\u0103stase play the Davis Cup Final against America, two high school students fall in love and write letters to Radio Free Europe’s Metronom show. When the young man gets the go-ahead to leave the country for good with his family, the two lovers know they have to part ways, but don\u2019t expect that their last days together are set to become decisive for their entire lives.<\/span><\/p>\n

Metronom<\/i><\/b><\/a>, Alexandru Belc’s feature film debut, won the Best Director Award in the Un Certain Regard section at Cannes to a standing ovation from audiences and critics. \u201c<\/span>This slow, stylish, richly imagined feature debut is much more than a Romanian riff on Romeo and Juliet,\u201d<\/span><\/i> writes the prestigious trade Variety, while Screen International describes it as \u201c<\/span>a compelling snapshot of adolescents on the cusp of adulthood, whose struggle to find their voice is made impossible by the authorities \u2014 everyone from concerned parents to the secret police \u2014 breathing down their neck.\u201d<\/span><\/i> The Clappers even call it <\/span>“one of the best films of the year”<\/span><\/i> due to it <\/span>“resoundingly stunning craft and empathetic emotional journey,”<\/span><\/i> while Disappointment Media assures us it’s <\/span>“not a film we’ll soon forget.”<\/span><\/i><\/p>\n

This <\/span>“sublimely beautiful film”<\/span><\/i> (The Upcoming) is distributed by Strada Film International and will be presented at <\/span>Les Films de Cannes \u00e0 Bucaarest<\/i><\/b> two weeks before the theatrical release on November 4th.<\/span><\/p>\n


\n<\/span>More information can be found on <\/span>filmedefestival.ro<\/span><\/a> and on the festival’s Facebook and Instagram accounts. <\/span><\/p>\n

Les Films de Cannes \u00e0 Bucarest <\/i><\/b>is presented by <\/span>Orange Romania<\/b>, the traditional partner of the event.<\/span><\/p>\n

Inspired by: <\/span>UniCredit Bank<\/b><\/p>\n

With the support of: <\/span>Sun Wave Pharma<\/b>, <\/span>Groupama<\/b>, <\/span>Dacin Sara<\/b>, <\/span>Mercure Hotels<\/b><\/p>\n

A Cultural project financed by: <\/span>Romanian National Center of Cinematography,<\/b> SACD \/ Soci\u00e9t\u00e9 des Auteurs et Compositeurs Dramatiques<\/b>, <\/span>French Embassy in Romania<\/b> and the <\/span>French Institute in in Romania<\/b><\/b><\/p>\n

Cultural partners: <\/span>Romanian Cultural Institute, Italian Cultural Institute<\/b><\/p>\n

Les Films de Cannes \u00e0 Bucarest <\/span>is a project co-financed by <\/span>the Bucharest City Hall through ARCUB within the Bucharest \u2013 Affective City 2022 programme<\/b>. For more detailed information about the financing program of the Bucharest mayorship through ARCUB, please visit <\/span>www.arcub.ro<\/span><\/a>.<\/span><\/p>\n

Partners: <\/span>Peasant Museum Cinema, National Film Archive – Romanian Cinematheque, Swedish Embassy in Romania, Avanpost<\/b>, <\/span>Abator<\/b>, <\/span>Aparterre<\/b>, <\/span>Europa Cinemas<\/b>, <\/span>Eventbook<\/b><\/p>\n

Main media partners: <\/span>Radio Guerrilla<\/b>, <\/span>TVR<\/b>, <\/span>Agerpres<\/b><\/p>\n

Media Partners: <\/span>Cinemagia<\/b>, <\/span>Zile \u0219i Nop\u021bi<\/b>, <\/span>Cinemap<\/b>, <\/span>Films in Frame<\/b>, <\/span>Ziarul Metropolis<\/b>, <\/span>Film Menu<\/b>, <\/span>iQAds<\/b>, <\/span>Smark<\/b>, <\/span>A List Magazine<\/b>, <\/span>Igloo<\/b>, <\/span>Urban.ro<\/b>, <\/span>LiterNet<\/b>, <\/span>The Institute<\/b>, <\/span>AARC \u2013 All About Romanian Cinema<\/b>, <\/span>Movie News<\/b>,<\/span> CineFan<\/b>, <\/span>Munteanu<\/b>, <\/span>CineGhid<\/b>, <\/span>Radio Rom\u00e2nia Cultural<\/b><\/p>\n

Cultural partner: <\/span>RFI Rom\u00e2nia<\/b><\/p>\n

**The content of this material does not necessarily represent the official position of the Bucharest City Hall or that of ARCUB.<\/span><\/i><\/p>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":11975,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86,1027],"tags":[],"class_list":["post-12132","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-comunicate-presa","category-lfdc13"],"_links":{"self":[{"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/posts\/12132","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/comments?post=12132"}],"version-history":[{"count":6,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/posts\/12132\/revisions"}],"predecessor-version":[{"id":12145,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/posts\/12132\/revisions\/12145"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/media\/11975"}],"wp:attachment":[{"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/media?parent=12132"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/categories?post=12132"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2022\/en\/wp-json\/wp\/v2\/tags?post=12132"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}