About the 76ᵉ edition of the Cannes Film Festival, there is a lot of talk about scandalous placements, problematic and above all bad films.
We hear less about it emerging filmmakers thrillingfeature films from countries almost never represented in competition or women directors who break the monopoly of men in the history of great films.
Yet, this year, they are not missing. Here is a small overview of the female directors present this year on the Croisette and who remind us that when we free ourselves from the controversies and sterile scandals, cinema can be feminist paradise.
“Anatomy of a fall” by the French Justine Triet
Julia Ducournau, Alice Diop, Mati Diop, Justine Triet… French cinema is a precious pool of female talent.
This 76th edition of the Cannes Film Festival is an opportunity for you, dear reader, to discover or rediscover one of these exciting directors. It is really to Justine Triet that we owe the magnificent Victory (2016) e Sybil (2019) which he gave to Virginie Efira two roles worthy of his immense talent. Without a doubt, if you are looking for brilliant French directors – check out the filmography of Justine Triet.
What to wait for the August 2023 release of his new film Anatomy of a fallwhich the director presents in competition at Cannes.
For now we know very little about his fourth feature, apart from his own intriguing synopsis. Within a family recently residing in the mountains away from everything, the father, Samuel, is found dead. It is on his wife Sandra that the doubts of the investigators arise. She is accused, despite the mystery of a death that we don’t know if it’s murder or suicide. A year later, Daniel, their 11-year-old visually impaired son, will participate in his mother’s trial, which the synopsis presents as a “true dissection of the couple”.
After St. Omer by Alice Diop who revealed how a courtroom could turn into thrilling film materialwe can’t wait to discover Justine Triet’s plunge into a darker and more mysterious story than ever before in her cinema.
Tiger Stripes by Malaysian Amanda Nell Eu
Beyond the exhausting and sterile controversies of its directors who have occupied the Official Selection every year for 70 years, the Cannes Film Festival remains theparadise for those who wish to discover extremely exciting young filmmakers.
And if we were going for a walk on the side of what to do young Malaysian filmmakers ? Critics’ Week offers us the opportunity to discover the work of Amanda Nell Eu, whose cinema explores the female body and identity in the cultural context of Southeast Asia.
Self tiger stripes rises to the top of the movies we can’t wait to discover, is that it promises emulation between feminism and genre cinema (really, everything we love). We meet Zaffan, a 12-year-old girl who lives in a small rural community in Malaysia.
In the midst of puberty, he realizes that she body is changing at an alarming rate. His friends turn away from them like the school seems to be in the grip of mysterious forces. Like a tiger harassed and driven from her habitat, Zaffan decides to reveal his true nature, his fury, his rage and her beauty.
We loved amazing Teddy beara French horror film full of humor and mischief in which the young Anthony Bajon brings out the wolf in him. Could we have found its equivalent, feminist and Malay?
Banel and Adama by the French-Senegalese Ramata-Toulaye Sy
In 2019, French-Senegalese filmmaker Mati Diop dazzled us as rarely before the big screen with her sublime Atlantica story of love, zombies, social injustice and exile.
In addition to the revelation of an immense director who left Cannes awarded the Grand Prix, Atlantic it reminded those who still need convincing that cinema benefits from enrichment the imagination of African women.
Suffice it to say that we are impatient to discover his colleague, Ramata-Toulaye Sy, who, like Mati Diop, is a French-Senegalese director whose first film is presented on the Croisette. Even better: Ramata-Toulaye Sy was chosen in Competition and therefore aspires to Palme d’Or. At 36, it’s not just there minor selection, but also the only one to claim La Palma with a debut feature : Banel and Adama.
The film was shot in the language Fulani, with non-professional actorsand the director evokes it like a film between story, tragedy and magical realism ». In all objectivity, we already love it.
Banel and Adama immerses us in a remote village in northern Senegal. Banel and Adama are related by a absolute loveoutside of which there is nothing. But this love will clash with the conventions of the community. Because where they live there is no place for passions, and even less for chaos…
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Source: Madmoizelle
Mary Crossley is an author at “The Fashion Vibes”. She is a seasoned journalist who is dedicated to delivering the latest news to her readers. With a keen sense of what’s important, Mary covers a wide range of topics, from politics to lifestyle and everything in between.
