ORToday the Cannes Film Festival 2022 competition ends: Les jeux sont faits, rien ne va plus! And lastly one of the most anticipated films of the competition arrives: Showing Up by Kelly Reichardt, director-icon of American independent cinema. We are moved instead with Un petit frère by Léonor Serraille and, finally, we laugh (a little through gritted teeth) with Masquerade by Nicolas Bedos.
Michelle Williams in “Showing Up”.
A close-knit combination
Reichardt wanted Michelle Williams to star for the fourth time later Wendy and Lucy (presented right on the Croisette in 2008), Meek’s Cutoff – Meek’s Path And Certain Women. This time he has entrusted her with the role of a “vivisected” artist in her daily life and in her relationship with others on the eve of an exhibition. When chaos becomes a source of inspiration …
Petit frère
A scene from “Un petit frère“.
No glamor, on the other hand, in the world told by the thirty-six-year-old Serraille, the French director who in 2017 had won the Camera d’or with Jeune femme. This time it follows Rose – emigrated in the Eighties from the Ivory Coast to the Parisian banlieu with his two children – over the course of twenty years. thus making us witness, she explains, the “construction and deconstruction of a family”.
Sunset avenue
Isabelle Adjani in “Masquerade“.
In Masquerade Isabelle Adjani (Palme d’Or immediately for self-irony!) Is a diva on the avenue of the sunset who gets mad at a gigolo (Pierre Niney), a promising dancer whose career ended in a motorcycle accident, and keeps him in his sumptuous villa on the Côte d’Azur … Until the young man, more naive than clever, meets a super manipulator, the very seductive Margot (Marine Vacht).
Adieu, Cannes
In the cast also Laura Morante, with an only apparently minor role. The film by Bedos, already author – in 2019 – of that little gem he was La Belle époque, closes – out of competition – the 75th anniversary edition of the Festival, which opened with another French film, Final Cut. Eh, chauvinism dies hard.
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