{"id":267610,"date":"2021-06-05T21:02:20","date_gmt":"2021-06-05T18:02:20","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/the-cannes-2021-lineup-proves-that-cinema-is-alive\/"},"modified":"2021-06-05T21:02:20","modified_gmt":"2021-06-05T18:02:20","slug":"the-cannes-2021-lineup-proves-that-cinema-is-alive","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/the-cannes-2021-lineup-proves-that-cinema-is-alive\/","title":{"rendered":"#The Cannes 2021 Lineup Proves That Cinema is Alive"},"content":{"rendered":"<p>&#8220;<strong>#The Cannes 2021 Lineup Proves That Cinema is Alive<\/strong>&#8221;<\/p>\n<div>\n<aside class=\"mashsb-container mashsb-main mashsb-stretched\">\n                <\/aside>\n<p><!-- Share buttons by mashshare.net - Version: 3.7.9--><span style=\"font-weight: 400;\">In what is undoubtedly the grandest movie <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">news<\/a> since the closing of movie theaters and the best movie news since The Great <\/span><i><span style=\"font-weight: 400;\">Parasite<\/span><\/i><span style=\"font-weight: 400;\"> Oscars Sweep of 2020, <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.indiewire.com\/2021\/06\/2021-cannes-film-festival-lineup-1234641655\/\">Cannes has announced the lineup for its 2021 festival<\/a>, set to take place on the Croisette from July 6-17 with none other than Spike Lee presiding over the jury. (Is Spike the only 2-year President of the Cannes jury?)\u00a0<\/span><span style=\"font-weight: 400;\">The selection of 63 films \u2014 24 in Official Competition \u2014 is overflowing with highly anticipated releases from across the globe. Festival chief Thierry Fr\u00e9maux and the selection committee have managed to squeeze what, after a year relatively void of big releases, seems like an inordinate number of renowned directors into the lineup. Then again, that\u2019s how most Cannes lineups feel.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As it was announced a while back, Leos Carax\u2019s psych-fantasy musical <\/span><i><span style=\"font-weight: 400;\">Annette<\/span><\/i><span style=\"font-weight: 400;\">, led by Adam Driver and Marion Cotillard and co-written by Ron and Russel Mael of art-rock duo Sparks, will open the festival where Wes Anderson\u2019s <\/span><i><span style=\"font-weight: 400;\">The French Dispatch <\/span><\/i><span style=\"font-weight: 400;\">would have last year. Anderson was one of many slated last year that waited it out for this year\u2019s edition, his star-studded love letter to journalism still set to premiere in the Palais. <\/span><i><span style=\"font-weight: 400;\">Annette <\/span><\/i><span style=\"font-weight: 400;\">marks Carax\u2019s English-language debut alongside several other noteworthy directors.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Palme d\u2019Or winner Apichatpong Weerasethakul broke from the setting of his native Thailand for his English-language debut, <\/span><i><span style=\"font-weight: 400;\">Memoria<\/span><\/i><span style=\"font-weight: 400;\">, which stars a moody, ghostlike Tilda Swinton and deals with the concept of memory. Mia Hansen-Love\u2019s <\/span><i><span style=\"font-weight: 400;\">Bergman Island<\/span><\/i><span style=\"font-weight: 400;\">, focused on a filmmaking couple played by Tim Roth and Vicky Krieps (who seem to mirror herself and Olivier Assayas) who <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">travel<\/a> to the storied F\u00e5r\u00f6 island to write their respective screenplays, marks her English-language premiere and competition debut.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Krieps is one of a select few who will <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>ear in multiple titles, also at the center of actor-director and Cannes regular Mathieu Amalric\u2019s <\/span><i><span style=\"font-weight: 400;\">Hold Me Tight<\/span><\/i><span style=\"font-weight: 400;\">, which will play in the newly added Cannes Premieres section alongside films from other well-known names,<\/span> <span style=\"font-weight: 400;\">like Hong Sang-soo (would it be a festival without him?), Arnaud Desplechin (same), and Korn\u00e9l Mundrucz\u00f3.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">L\u00e9a Seydoux is another multi-movie attendee, with Bruno Dumont\u2019s <\/span><i><span style=\"font-weight: 400;\">On a Half Clear Morning<\/span><\/i><span style=\"font-weight: 400;\"> playing the Cannes Premiere section and Hungarian director Ildik\u00f3 Enyedi\u2019s <\/span><i><span style=\"font-weight: 400;\">The Story of My Wife<\/span><\/i><span style=\"font-weight: 400;\"> playing in competition. The latter is another English-language debut, this time a Mil\u00e1n Furst adaptation about a romance between a sea captain and a woman in a cafe. Out-of-competition title <\/span><i><span style=\"font-weight: 400;\">Mothering Sunday <\/span><\/i><span style=\"font-weight: 400;\">will mark Eva Husson\u2019s English-language debut, Odessa Young starring in a role that calls <\/span><i><span style=\"font-weight: 400;\">Shirley <\/span><\/i><span style=\"font-weight: 400;\">to mind: a maid in a house overseen by an idiosyncratic couple in Olivia Colman and Colin Firth. How that will manifest remains to be seen, but it sounds like a good recipe.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Between the directors mentioned above, it might sound like Cannes 2021 is closer to gender parity than in the past, but few if any strides have been made on that front. Though, it\u2019s worth mentioning that steps haven\u2019t been taken backward either. Only four of the twenty-four films in competition are directed by women \u2014 matching the most ever in competition \u2014 with Julia Ducournau\u2019s (of carnal <\/span><i><span style=\"font-weight: 400;\">Raw <\/span><\/i><span style=\"font-weight: 400;\">fame) <\/span><i><span style=\"font-weight: 400;\">Titane <\/span><\/i><span style=\"font-weight: 400;\">and Catherine Corsini\u2019s <\/span><i><span style=\"font-weight: 400;\">La Fracture <\/span><\/i><span style=\"font-weight: 400;\">filling out the rest.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This is where the Cannes Premieres selections come back in. The section was created for anticipated and formidable releases from recognizable filmmakers that didn\u2019t get selected for competition. Out of nine titles, four were directed by women. Three are documentaries, which have an uncharacteristically robust presence at the 2021 festival. Films from Charlotte Gainsbourg on her mother Jane Birkin, Andrea Arnold on cows, and Ting Poo and Leo Scott on the life and times of Val Kilmer are already gaining major buzz alongside Todd Haynes\u2019 <\/span><i><span style=\"font-weight: 400;\">Velvet Underground <\/span><\/i><span style=\"font-weight: 400;\">and Oliver Stone\u2019s <\/span><i><span style=\"font-weight: 400;\">JFK Revisited: Through The Looking Glass<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Five new filmmakers will make their debut in the Uncertain Regard section, including Gessica G\u00e9n\u00e9us from Haiti, the Romanian-Belgian Teodora Ana Mihai, and Jiazuo Na from China, all of whom could be names to look out for by the end of the fest. Other noteworthy mentions include Justin Chon\u2019s <\/span><i><span style=\"font-weight: 400;\">Blue Bayou<\/span><\/i><span style=\"font-weight: 400;\">, which follows a<\/span><span style=\"font-weight: 400;\">\u00a0Korean-American man settling his family in Louisiana, and Kogonada\u2019s sophomore feature <\/span><i><span style=\"font-weight: 400;\">After Yang<\/span><\/i><span style=\"font-weight: 400;\">, which finds Colin Farrell and Jodie Turner-Smith wrapped in family complications after an AI malfunction in the near future.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Gainsbourg and Amalric aren\u2019t the only actor-directors making exciting debuts, Sean Penn poised to return with <\/span><i><span style=\"font-weight: 400;\">Flag Day<\/span><\/i><span style=\"font-weight: 400;\">, which had better be more interesting than its title,<\/span> <span style=\"font-weight: 400;\">and Shlomi Elkabetz set to premiere <\/span><i><span style=\"font-weight: 400;\">Black Notebooks <\/span><\/i><span style=\"font-weight: 400;\">in the Special Screenings section, where Ukrainian realist Sergei Loznitsa and the Brazilian-Algerian Karim A\u00efnouz will have new films. And perhaps most notable in Special Screenings is <\/span><i><span style=\"font-weight: 400;\">The Year of the Everlasting Storm<\/span><\/i><span style=\"font-weight: 400;\">, a collection of pandemic-themed shorts from Jafar Panahi, Anthony Chen, Malik Vitthal, Laura Poitras, Dominga Sotomayor, David Lowery, and Apichatpong Weerasethakul (again). These short-film, all-timer projects don\u2019t usually pan out, but here\u2019s to hoping restlessness breeds brilliance.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It feels like we haven\u2019t scratched the surface without mentioning the new films from Nadav Lapid, Sean Baker, Asghar Farhadi, Justin Kurtzel, Tom McCarthy, or Jacques Audiard, to name a handful, or without noting Jodie Foster being awarded an honorary Palme d\u2019Or, or without recognizing the fact that Director\u2019s Fortnight and Critic\u2019s Week, both major players in the lineup, haven\u2019t announced their films yet. And somehow, in the excess of it all, there are still big titles missing, like Jane Campion\u2019s <\/span><i><span style=\"font-weight: 400;\">The Power of the Dog <\/span><\/i><span style=\"font-weight: 400;\">and Andrew Dominik\u2019s <\/span><i><span style=\"font-weight: 400;\">Blonde<\/span><\/i><span style=\"font-weight: 400;\">, both belonging to Netflix, who rejected the offer for the films to play out of competition, keeping the four-year stalemate between Netflix and Cannes alive and well.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">But not scratching the surface is the nature of the Cannes beast. It is, among other things, a reminder that film is flourishing. As Fremeux said in his announcement, \u201cCinema is not dead.\u201d It continues to peak, thriving in every form imaginable from country to country, an accessible, communicative, collaborative, and evolutionary artistic expression that captures global attention for good reason.<\/span>\n<\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. 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