Cannes 2024 Day 1
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With “Diamant brut”, Agathe Riedinger gives a new importance to the motifs and concerns already depicted in her short film, “J’attends Jupiter”, in a promising first feature film that is yet tainted by a tendency for calvary.
Introduced in the opening of the Semaine de la critique in Cannes, Jonathan Millet’s first feature film is a brilliant work which, while telling the tale of the hunt of an old Syrian war criminal by a secret organisation, manages to accurately depict the feeling of exile.
The sun rises over a long summer day in Iceland. From one sunset to the other, Una, a young art student, finds love, friendship, sorrow and beauty.
… It is therefore both exciting and essential to turn our attention onto current cinematographic creation, as it is presented - amongst others - in the Cannes film festival. This is the aim of this new form of the Inrocks in Cannes, a daily issue that will feel the pulse, over ten days, of an essential festival, of the films being produced nowadays in France and abroad, of those who make them, who watch them, who discuss them.
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With “Le Deuxième Acte”, Quentin Dupieux presents the festival with an opening that grapples to the point of vertigo with the many issues that currently animate the world of cinema.
The seventh and last feature film by Sophie Fillières (La Belle et la Belle, Gentille, Aïe), who passed on July 31st, 2023, a few weeks after filming wrapped.
A guest unveils themselves by answering our nosy questions. Today, the actress Camille Cottin, mistress of ceremonies for the 77th edition of the Cannes film festival.
The festival opens on an atmosphere of obvious tension which is reinforced by the upcoming thunderstorm. Beware of shining dogs.
After fifteen years of collaboration and five movies shot together, Léa Seydoux and Louis Garrel meet again; they discuss their tangled paths, their late friend Gaspard Ulliel and ponder the nature of acting, its capabilities and its risks.