David Cronenberg (Crimes of the future), the Dardenni brothersTori and Lokita), James Gray (Armageddon’s time), Arno DepleshenBrother and sister)… The official selection of the 75th Cannes Film Festival shines with a thousand lights, and the competition for the “Golden Palm Branch” promises to be high. Before learning about the selection of the jury chaired by Vincent Lyndon, May 28, the day of the closing ceremony, Marianne dives into previous editions in search of the ten best films in the history of the festival. The choice was not easy, but the masterpieces imposed themselves.
10 The wind is risingKen Loach (2006)
It was enough to allow stories to be told to make a great film, and Ken Loach had the wisdom to do so. With sobriety that only emphasizes the violence of reality, The wind is rising, carried by the remarkable Killian Murphy, describes the trajectory of two brothers united in the Irish War of Independence in 1919 and then separated in the ensuing Civil War. Without Manichaeism or unwanted moralism, this story of Irish resistance is worthy army of shadows modern, finds a special response from the French audience.
9. LoveMichael Haneke (2012)
As is often the case with Haneke, the drama takes place in an atmosphere of strangeness, progressive tension. For Georges, a music teacher in Paris, it all starts with breakfast, during which his wife Anna suddenly freezes, her eyes blackening as if drawn into a parallel dimension. It has a name for this parallel dimension, or rather several: disease, addiction and soon death. And if the viewer’s stomach is so knotty from the first minutes, it is because he knows that emotion will soon overwhelm him in the loneliness of this cell, where nothing and no one can come to free George, otherwise death itself. You don’t watch this Haneke movie over and over again: just once to celebrate you forever.
8. childfrom the Dardenne brothers (2004)
The titled child is not the only one to whom Sonia gives life, in the suburbs of Liege, and whom her father Bruno will soon sell to foreigners to earn some money. The child is also Bruno himself, who is unaware of the taboos he is breaking and the damage he is doing to Sonya and himself. Like a child caught at a crime scene, he will then try to justify his crime so that humanity can save the animal he became in immediate poverty, where only the law of the stomach prevailed. In harmony with the energy expended by his protagonist, the film moves at full speed, feverish, burning, tragic, horrible, to the last images, where, finally, love appears and overwhelms us.
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7. cheetah (1963)
Adaptation of Lampedusa’s novel, cheetah The end of the man, Prince Salina, played by Bert Lancaster, coincides with the end of a world in which the Italian aristocracy, gradually replaced by the bourgeoisie, prevailed socially and morally. The prince watches with nostalgia as opportunistic hordes of “hyenas and jackals” arrive, including his own nephew Tancred, played by Alain Delon. A turning point in Visconti’s filmography, which is now back to decadence, and in which there is no longer a positive force to influence history.
6. Taxi driverMartin Scorsese (1976)
Human loneliness. Boring night. New York filth of the 70’s. Post-Vietnamese madness that creeps in cunningly but confidently. All these elements create greatness Taxi driver, the first of many masterpieces by Martin Scorsese. We see the weak, pale, clumsy Robert De Niro raging against the urban jungle, whose codes he does not possess … to such an extent that he perceives them as a battlefield, similar to what he experienced in Asia from the southeast. Taxi driver at night Travis Bickle leads a miserable lifestyle. He wanders around the rooms where pornographic films are broadcast. He fails to establish strong ties with people, does not understand them. It occurs to him to “save” a prostitute played by young Jodie Foster. Two actors tore the screen. Everything in this film, which mixes the codes of noir crime fiction with existential reflections of time, fascinates the viewer. For modern generations, the discovery of this owner of the Golden Palm Branch in 1976 is an incredible sensual and violent experience. This testifies to the exceptional natural talent of Scorsese, one of the great artists of the last half century.
5. Tree of Life Terrence Mallick (2011)
Whether we love or hate this metaphysical elegy travel Inflated New Age, we can only welcome the cinematic ambitions of Terrence Malik: to fight the connection between the intimate and the universal. The director of nature and grace brings his art to the limit. Prophetic in his best shots, Malik reveals the invisible with his camera, why the accuracy of Brad Pitt and Jessica Chastain, photography by Emmanuel Lubetski and support for great classical composers help.
4. Apocalypse now Francis Ford Coppola (1979)
An extraordinary film, an extraordinary festival. For its 1979 edition, it was the writer Françoise Sagan who chaired the jury in Cannes. The apocalypse today, Francis Ford Coppola’s opus on the Vietnam conflict, is a heavyweight selection. As a result of nightmarish shootings with dangers that have become mythical, this film monument stands alone in the gallery of works dedicated to this war. Epic and psychedelic, elegiac and brutal, beautifully photographed by Vittorio Storaro, The apocalypse today is one of those films whose equivalents have been hard to find for the past twenty years. Moreover, since its first release, Coppola himself has not caused more excitement than when he introduced his new versions (Final Cut surpasses Redux).
In addition, in 1979 the director of the village The Godfather and Godfather IIalready the owner of the Golden Palm branch for secret conversation, became a mania for greatness. His whims of the star of New Hollywood pollute the organization of the festival: a private plane, a 45-meter yacht for living, apartments in “Carlton” for family and others… Director Gilles Jacob is exposed to everything. He knows how popular he is The apocalypse today provides visibility of the event. Sagan, she remains unmoved. Not very fond of Coppola’s mural, the president of the jury wants Volker Schlendorf to receive the prize for Drum. At the end of the gloomy negotiations (and since then banned), both films were finally awarded.
3. Wages of fear Henri-Georges Clouseau (1963)
Living with a Damocles sword over your head is much more intense when it takes the form of 400 kilograms of nitroglycerin. The liquid used to extinguish the fire in the oil well must be transported by truck from point A to point B on uneven roads and may explode at any time. Therefore, drivers, including Mario (Yves Montand) and Joe (Charles Vanel), live in borrowed time. Clouseau brilliantly combines existential thriller and social satire. Special mention for Magiciana wonderful remake of William Friedkin.
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2. Criminal readingQuentin Tarantino (1994)
The best thing about Tarantino, of course: everything is nice in this filmed comic, a dark story where stories about gangsters, revenge and wrong steps are intertwined. The characters are united, above all, by their terrible tendency to run into trouble: from fast food robbers with nickel-plated legs to a murderer who is too attracted to his boss’s wife, to a boxer who refuses to respect the counterfeit market. Constantly amazing script, exquisite directing, ultra-charismatic characters, cast with lighting … We still can’t enjoy it.
1. ParasitePon Jun Ho (2019)
Historically flawless. That’s what he did Parasite from the spring of 2019 to the winter of 2020, between winning the Cannes Palm Branch and winning an Oscar, making it the first non-English-language film to win the highest Hollywood trophy. Like most great Korean films, including Parasite is at the junction of several genres. Is this a ruthless satire on class society in Seoul? A comedy about greed? Family drama? A claustrophobic thriller? AND Eleven Oceans chamber music version? Brilliant Pon Joon Ho balances all these plates without breaking any. I feel delighted while watching Parasite it is a rarity in cinema. You do not need to be a fan of confidential works distributed in art galleries and essays. The dialogues and the play of the actors make it possible to identify to some extent each of the members of the two families that are the center Parasitedespite their quirks. Even the décor, this luxurious and soulless residence, built from scratch for the film, becomes its own character. The palm tree awarded to Bong is a well-deserved award for a director who is generous to his audience.