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May 25, 2024 | 
festival-cannes.com | Tarik Khaldi
This year, LGBTQIA+ representation has pride of place in the Official Selection. There are films from experienced filmmakers and emerging talents, from all around the world, documentaries and features alike. Trans identity on the screen, in features and in docsA trans actress to portray a transition on screen.
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May 23, 2024 | 
festival-cannes.com | Tarik Khaldi
Emma loves Sammy, who loves Cyril, who loves him back. They are in their twenties, their life before them, until a virus strikes, and the spectre of death looms over them. They expect the worst, but will it happen? Before Vivre, Mourir, Renaître, Gaël Morel planned to direct a documentary about the people saved from AIDS by combination therapies developed in the 1990s. But the story he really wanted to tell was more about youth blighted by illness, using the medium of fiction.
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May 23, 2024 | 
festival-cannes.com | Tarik Khaldi
Jackie and Clotaire fall madly in love in their town in northern France. She’s kooky and nerdy where he’s a bit of a scoundrel, and although life puts their love to the test, nothing can keep them apart. L’Amour ouf (Beating Hearts) is the result of a long-standing vision Gilles Lellouche had nurtured ever since reading the eponymous novel by Neville Thompson, gifted to him by Belgian actor Benoît Poelvoorde.
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May 22, 2024 | 
festival-cannes.com | Tarik Khaldi
“My films are disguised films”, Jacques Demy liked to say. “Often, colour and music mask the real pessimism of the words. Not to mention forced cheerfulness. But I think I’m the same way in life. What we do and what we are are the same thing. I don’t make a distinction.”Jacques Demy, le Rose et le Noir is a journey through the work of the filmmaker.
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May 22, 2024 | 
festival-cannes.com | Tarik Khaldi
When Aymeric happens to run into Florence one evening, their past as supermarket employees seems like a long time ago. He is just out of prison for a youthful mistake, she is six months pregnant, and they soon fall in love. Aymeric is there when baby Jim is born, and the family of three spend countless happy days together at home in Haut-Jura.
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May 22, 2024 | 
festival-cannes.com | Tarik Khaldi
“Going to the cinema – what does that mean? Why have we been going for more than 100 years? I wanted to celebrate cinemas and their magic. It’s a blend of memories, fiction and research… A torrent of images to sweep us away.” That is how Arnaud Desplechin describes his work on Spectateurs!In this celebratory film, the director revisits the character of Paul Dédalus played by Mathieu Amalric in Comment je me suis disputé… and Quentin Dolmaire inTrois souvenirs de ma jeunesse (My Golden Days, 2015).
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May 22, 2024 | 
festival-cannes.com | Tarik Khaldi
What inspired you to begin work on this film? It was at the end of 2019 after moving from Vietnam to France that I started to jot down the first ideas for Việt and Nam. Perhaps the long and lonely continental winter I first experienced during the time ignited a yearning in me to make a film about homeleaving.
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May 22, 2024 | 
festival-cannes.com | Tarik Khaldi
Unlike Les Trois Mousquetaires (The Three Musketeers), which you adapted for Martin Bourboulon, this time you were directing. What inspired the way you directed the film? Alexandre: This book spans a number of literary genres. There’s tragedy, romance, a great romantic story. We realised this on set. We never did the same thing with the crew. We went from interior scenes to epic sequences, from adventure scenes to darker ones. We went for something baroque to a certain extent.
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May 21, 2024 | 
festival-cannes.com | Tarik Khaldi
Anora, a young stripper from Brooklyn, falls in love with the son of a Russian oligarch. A fairy tale seems to be unfolding and marriage is on the horizon, but that’s before her lover’s parents get involved: they are determined to damage the relationship. We have become used to Sean Baker’s films of isolated bubbles, tucked into the margins of dreamlike places. In Tangerine (2015) he used an iPhone to film sex workers on the streets of Hollywood, beneath tangerine-coloured lights.
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May 20, 2024 | 
festival-cannes.com | Tarik Khaldi
The atmosphere at the Grand Théâtre Lumière was electric this afternoon, the audience on fire and younger than usual to shower the Studio Ghibli representatives led by Gorō Miyazaki with applause. “We’re all here because we’re besotted with this Japanese animation,” enthused Thierry Frémaux in his opening speech. “For the very first time, Iris Knobloch and I decided to awarded the honorary Palme d’or to a studio, rather than a single creative.
