Cannes 2025 – Day 11: The revelations of the Dardenne, the jazz of Kelly Reichardt, 13 days 13 nights
Every day, the hot point live from the 78th Cannes Film Festival.
The film of the day: Young people de Jean-Pierre and Luc Dardenne
They could not think of it by going up the steps ago a handful of hours. It has been 26 years, almost day to day, a Friday afternoon watching record like today, the Dardenne brothers went up the Cannes marches for their very first film presented in competition, Rosetta. The next day, they won their first golden palm lined with the interpretation price crowned the late Emilie Dequenne. Is it a sign of fate for the Dardenne and obtaining what would be their third palm, what no filmmaker has succeeded so far?
Only a few hours of patience to know … and that would be anything but a scandal. Because Young peopletheir very first choral film, turns out to be one of their most overwhelming works. The two brothers split the armor as never while taking their heroines (five teenagers accommodated in a maternal house, a place of reception in Belgium for young pregnant women or mothers of young children, in social distress) to the light, despite all the obstacles encountered on their roads. And this while their precedents long plunged into an unfathomable darkness. All without betraying anything with their fundamentals: a controlled staging recognizable in the foreground and an incredible sense of the cast and the management of actors.
In the absence of a palm, the five young women who find their first big role in the cinema in front of their camera – Lucie Laruelle, Babette Verbeek, Janaina Halloy Fokan, Elsa Houben and Saimi Hilmi – would make a very beautiful price for collective female interpretation.
The video of the day: Martin Bourboulon and Roschdy Zem for 13 days 13 nights
Before the midnight session (we talk about it below), the 78th Cannes Film Festival delivered its last highlight with the projection of 13 days 13 nightsexcluding competition. We were able to speak with its director, Martin Bourboulon, who after The three musketeers tells the evacuation of the Embassy of France during the fall of Kabul, and Roschdy Zem, who embodies the main character. A strong subject that contrasts with the rhinestone atmosphere and glitter of the Croisette. “”This is all the Cannes paradox, the best example is to present an Iranian film like that of Jafar Panahi, knowing that it is still risking prison for having made this film“Recalls the actor.
The music of the day: the jazz of The Mastermind de Kelly Reichardt
The little music for the cinema of the American Kelly Reichardt was heard in the last square of the festival. Minimalist object posed in competition between the Magnum opus suffocating of Bi Gan and a Dardenne in the square, difficult to fight. Fixed sections, fall colors and a storm starting in the tone of very assumed comedy. We did not necessarily expect from the director of First Cow or Showing Upthis Coen’s Touch.
The Mastermind is in America at the beginning of the seventies while the Vietnam War begins to awaken consciences. In Framingham, peaceful city of Massachusetts, James (Josh O’Connor) organizes the theft of four abstract paintings from the Museum of Modern Art. Helped by two nickel -plated feet, their business quickly turns into disaster. James, married, father of two children and sons of a judge, decides to go on the run in a strangely stoned country in the face of the blows of his own story. The hero, a young man without quality, fails to get rid of his loose.
The film also surprises with its music. The flashes of the jazzman trumpet Rob Mazurek – where others would have opted for rock or folk – create a frenzied rhythm. The light energy of the soundtrack brings a shape of distancing with what is filmed. The Mastermind Gradually falls back on himself before leaving us on a Chaplinesque final. Not bad !
The joke of the day: Resurrection de Bi Gan
The new film of the author of Great trip to night was not a priori vocation to do in the Gaudriole. Resurrection From Bi Gan, presented in competition, is a 2:40 p.m.-world film, a waking dream that would have the engine less than the memory of cinema. It starts very well with a tribute to the cinema of the articulated origins as a fairly fascinating poetic trance. The problem is that the remaining two hours are too much.
Nevertheless, a cute toddle posed this puzzle like a sphinx to one of the heroes of the film: “What do we lose and never find?”The spectator necessarily also looked for a satisfactory response.“ “Time, maybe?“We said, we who had the feeling of losing it in front of this fresco not frankly exciting. That Nenni.”What do we lose and never find?“Kid response:”A pet!”And if Resurrection was finally called Flatulencethe fate of the film – and therefore of the cinema – would it have been changed?
The provocative of the day: Ethan Coen in Honey Don’t
Presented in midnight session, Honey Don’t! is the second part of what Ethan Coen and Tricia Cooke call their “lesbian trilogy”. History follows a private detective (Margaret Qualley, irresistible) in an investigation which leads her shady bars in a religious sect led by a crazy preacher (Chris Evans). But unlike the classics of the genre, the film is betting on a sunny aesthetic, sometimes flirting with trash and retro. So we oscillate between tribute to the genre and drift… camp?
“We made this film to have fun. To play with the codes of the thriller, but by infusing it with a lesbian subtext which allowed us to cause a little morality and the reactions. Camp? Do you find the film Camp? Hmmm…. I have a complicated relationship with that. We are both fans and friend of John Waters. And his films are really … atypical. But as much as I like his cinema, as much I must say that I hate camp. And in fact, it was certainly not our ambition. We didn’t want to make a camp camp, nor make a film at the John Waters.
We wanted it to look like a real drama with real issues. However, there are no real challenges in John’s films. If there is camp in Honey Don’t, it is especially for the scenes with Chris Evans I suppose. The whole Trumpian side of the film, everything related to religion, sex is indeed outrageous. But for me it is more of the absurd, something so extreme that it ends up being “real ‘and that’s what is fun. Anyway, the camp, for me, is divine. And you will admit that Chris Evans is not very divine.”
The monument of the day: Barry Lyndon of Stanley Kubrick in restored copy
50 years round. The Stanley Kubrick monument was projected in the great Debussy room as a 4K copy as a Cannes dessert (fence of the Canneclassics section). Small room, large screen and … Marisa Berenson, the Lady Lyndon in the flesh and bone on the platform. “” “A year and a half of work to reach the end of this instant classic”, She recalled. Barry Lyndon is a“ Sarabande ”around the incredible and desperate route of an upstart (Ryan O’Neil) in 18th century.
SO ? After 3h07 of projection, the pictorial power of this object which operates by successive living paintings, without never freezing anything, spun dizziness and chills. We went back in the face of the rear zooms that swallow up, or on the contrary reinforce, the hero in the decor; the candles that sculpt the image; This child bed, who in a last breath asks his parents to try to love each other and finally this music that punctuates the drama from the inside. 50 years. Large, elegant and handsome young man.
Today in Cannes
Cannes 2025 is almost finished. The latest films in the official selection were screened on Friday, but festival -goers can take advantage of the traditional catching up on Saturday, pending the fence ceremony which will be broadcast from 6:40 p.m. live and clear on France 2. We will discover the charts that the jury chaired by Juliette Binoche has been concocted. Who will win the Palme d’Or and the other prices? Answer in a few hours …
