by Elisa Giudici
Today a dream of mine came true: I was finally able to attend an event with Isabelle Huppert. She is quite popular on the film festival circuit but lately she is working in theatre a lot (right now some Chekhov, just like the protagonist of Drive My Car), so I was so excited to finally meet her at the "Rendez-vous avec Isabelle Huppert" event. Let me fangirl a little. She is truly a charismatic person with a serious attitude and kind smile. Her event had two moderators but they were quite nervous (I totally understand!) so the conversation was a bit repetitive if still interesting. The most iconic moment was when someone asked her if she ever experienced stage fright or if she was ever a little scared by the legendary directors she worked with. She immediately answered that she never feels intimidated by anyone. It is an attitude she is not interested in exploring; I wish my brain would listen and be more like that! On Haneke, she said that he obsesses over realistic movements, and gives actors a lot of boundaries but almost never any advice on how to act...and she likes it that way,
In these kind of events moderators are crucial to create an interesting dialogue. I am not that much into Matt Damon's filmography but I found his Rendez-vous a memorable experience, too, because the interviewer prepared the list of questions well so that the whole event was engaging. Of course Damon's friendly attitude helped. He is a charming person and knows how to make an audience happy revealing small inside details from his long carrier.
On to the movies...
Lamb (Valdimar Jóhannsson)
UN CERTAIN REGARD
Annette, Titane, Lamb... screen babies in the competition this year are quite something, I can assure you. My suggestion for Valdimar Jóhannsson's Lamb (which I liked a lot) is to skip this paragraph and any other review and just be prepared for a really slow start. The movie's sole initial purpose is to showcase how boring agricultural life on a remote Islandic farm can be. Barely a word is exchanged between the married couple who own the place. Later in the film crazy things happen, but the strange, hilarious thing is how the protagonists react to them, without changing much of their very quite, repetitive life. It is good to see Noomi Rapace in an Icelandic movie for a change. With a more fictional, mysterious approach, Lamb is interested in the same topics as Andrea Arnold's Cow, but is more subtle in delivering its take. It is a story of motherhood and revenge and continuously blurs the line between what we consider human and animal, underlying how difficult it is for one to truly understand the other.
Moneyboys (C. B. Yi)
UN CERTAIN REGARD
I was hoping to see some of the Queer Palm contenders and at least one of the numerous Chinese movies here in Cannes, so Moneyboy was a smart choice to check off two points on the 'to do list'. It is a good if dry movie portraying the world of male prostitution. Fei provides financial help back home in rural China by selling his body in a big city. Prostitution is illegal in China, so his job as a sex worker is financially rewarding but also dangerous. Some traumatic experiences lead him to shut down his emotions, sacrificing himself to the point of hurting himself, friends, colleagues and lovers. The premise is strong, but the execution is a little bland.
Cannes is an amazing showcase for a movie, but also a bit dangerous as a launching pad. I think I would have appreciated this film much more if it weren't in direct comparison with the other films screened. You really need a killer hit to be noticed at Cannes.
Titane (Julia Ducournau)
COMPETITION FILM
Ducournau's Titane made Verhoeven's Benedetta looks like a mild conformist movie! I have several movies left to see but I cannot even fathom seeing something more over the top, frantic, ultra violent and batshit crazy movie. In a good way. If the Jury wants to make a bold decision with the Palme d'Or, it could be a contender.
I don't want to say a lot about this movie or I'd ruin your (shocked) reaction to it, so I'll just talk about the prologue. Agathe Rousselle gave a new meaning to the definition of "strong female character" in a movie that demands so much from her interpretation and her body. She survives a car crash, twerking in a motor show, and having sexual intercourse with the weirdest partner ever... all in first 5 minutes of the movie. And that's only before the title card! Shout out to the amazing Vincent Lindon in the role of the pumped up fireman daddy who introduce his son to the men he leas at work with "I am God to you, so my son here is Jesus". Best father character of the competition?
Titane is really violent and extreme, so it is not for everyone. Think of Mandy (but I daresay way better) or that kind of contemporary ultra violent horror movie built on bodies, strong female attitudes, and shock value.
Previously
Diary Entry #1 Annette
Diary Entry #2 Everything Went Fine, Onada, Yasha-ga-ike
Diary Entry #3 Worst Person in the World, Velvet Underground, Lingui, etc
Diary Entry #4 Benedetta, La Fracture, Mothering Sunday
Diary Entry #5 Flag Day, Compartment No 6, Mariner of the Mountains
Diary Entry #6 The Innocents, Drive My Car
Diary Entry #7 The French Dispatch, Three Floors, Petrov's Flu, Bergman Island