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CANNES 2019

Los favoritos y los outsiders, en la última recta hacia Cannes

por 

- Un vistazo a los principales candidatos a obtener un lugar en la selección del 72° Festival de Cannes (del 14 al 25 de mayo 2019)

Los favoritos y los outsiders, en la última recta hacia Cannes
Abdellatif Kechiche, Céline Sciamma, Pedro Almodóvar, Marco Bellocchio, Jessica Hausner, Roy Andersson, Ulrich Seidl, Agnes Kocsis y Corneliu Porumboiu

Este artículo está disponible en inglés.

What does this year's Cannes selector Thierry Frémaux have in store for us, given that he went against the grain last year in favour of mixing things up a bit? With the 69th Berlinale due to hand out awards on Saturday, 16 February, the 72nd Cannes Film Festival (14 to 25 May 2019) has begun to attract the interest of major global film industry players and fans, and the lists of possible and probable contenders are cropping up left, right and centre as part of the usual, but no-less-exciting, crystal ball atmosphere that tends to precede the event (with a special mention to prospectors Nicholas Bell and Eric Lavallée from Ioncinema). Of course, this broad summary should be taken with a pinch of salt, but it does contain a very large number of hotly anticipated films.

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On the front line are several films by directors who have already won at least one (or two) Palmes d'Or: Young Ahmed [+lee también:
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entrevista: Jean-Pierre et Luc Dardenne
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by the Belgians Jean-Pierre and Luc Dardenne, Sorry We Missed You [+lee también:
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Q&A: Ken Loach
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by the Englishman Ken Loach, the French film The Truth [+lee también:
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entrevista: Hirokazu Kore-eda
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 by Japan's Hirokazu Kore-eda, Once Upon A Time in Hollywood by the American director Quentin Tarantino, and two feature films that have been kept decidedly under wraps, Mektoub My Love: Intermezzo [+lee también:
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by the French director Abdellatif Kechiche and A Hidden Life [+lee también:
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by the American director Terrence Malick.

Also on our radar are a number of otherfilms that have been screened in competition on the Croisette, such as Pain & Glory [+lee también:
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entrevista: Antonio Banderas
Q&A: Pedro Almodóvar
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by the Spanish director Pedro Almodovar, Oh Mercy! [+lee también:
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entrevista: Arnaud Desplechin
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by the French director Arnaud Desplechin and Joan of Arc [+lee también:
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entrevista: Bruno Dumont
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 by his compatriot Bruno Dumont, The Traitor [+lee también:
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Q&A: Marco Bellocchio
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by the Italian director Marco Bellocchio, About Endlessness [+lee también:
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entrevista: Roy Andersson
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by the Swedish director Roy Andersson, Manor House by the Romanian director Roumain Cristi Puiu, Wicked Games by the Austrian director Ulrich Seidl, Parasite by the Korean director Bong Joon-ho, the American trio The Dead Don’t Die [+lee también:
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by Jim Jarmusch, Ad Astra by James Gray (if special effects are completed in time) and Uncut Gems by Josh and Benny Safdie, Matthias et Maxime by the Canadian director Xavier Dolan and Guest of Honour by his compatriot Atom Egoyan, It Must Be Heaven [+lee también:
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entrevista: Elia Suleiman
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by the Palestinian director Elia Suleiman, To the Ends of the Earth by the Japanese director Kiyoshi Kurosawa, three Chinese films, including Saturday Fiction by Lou Ye and One Second by the Chinese director Zhang Yimou (if they pass the country's strict censorship laws), as well as Bacurau [+lee también:
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entrevista: Kleber Mendonça Filho, Jul…
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by the Brazilian duo Kleber Mendonça Filho and Juliano Dornelles (which rumours suggests is a little too genre-oriented to be in the running for the Palme d’Or), as well as True History of the Kelly Gang [+lee también:
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by the Australian director Justin Kurzel. It should also be noted that there is uncertainty about the timing of Zombi Child [+lee también:
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entrevista: Bertrand Bonello
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by the Frenchman Bertrand Bonello, which could be a candidate for selection according to some, while others don’t think the film shoot will be entirely finished by the spring.

Serious contenders for a first foray in competition include Portrait of a Lady on Fire [+lee también:
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entrevista: Céline Sciamma
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by the French director Céline Sciamma, Ema by the Chilean director Pablo Larrain, The Whistlers [+lee también:
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entrevista: Corneliu Porumboiu
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by the Romanian director Corneliu Porumboiu, Little Joe [+lee también:
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entrevista: Jessica Hausner
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by the Austrian director Jessica Hausner, Wet Season by the Singaporean director Anthony Chen, The Wild Goose Lake by the Chinese director Diao Yi’nan (also allegedly a little too genre-oriented for competition, but so was his Golden Bear winner Black Coal at Berlin in 2014, so we'll see!), All Inclusive by the Polish director Malgorzata Szumowska, The Beanpole [+lee también:
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by the Russia's wunderkind director Kantemir Balagov, and three films by American directors: First Cow by Kelly Reichardt, Wendy by Benh Zeitlin and Frankie [+lee también:
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entrevista: Ira Sachs
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by Ira Sachs.

European productions aren't lacking in diverse talent ready for a trip on the Croisette with Eden by the Hungarian director Agnes Kocsis, A Sun That Never Sets by the Spanish director Olivier Laxe and Mother by his compatriot Rodrigo Sorogoyen, the Icelandic films Echo by Runar Runarsson and The County [+lee también:
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entrevista: Grímur Hákonarson
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by Grímur Hákonarson, The Disciple by the Slovakian Ivan Ostrochovský, Pelican Blood [+lee también:
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entrevista: Katrin Gebbe
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by the German director Katrin Gebbe, Suicide Tourist [+lee también:
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entrevista: Jonas Alexander Arnby
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by the Danish director Jonas Alexander Arnby, 438 Days by the Swedish director Jesper Ganslandt, Martin Eden [+lee también:
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entrevista: Pietro Marcello
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by the Italian director Pietro Marcello, Technoboss [+lee también:
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entrevista: João Nicolau
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by the  Portuguese director João Nicolau, Heidi [+lee también:
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entrevista: Cătălin Mitulescu
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by the Romanian director Catalin Mitulescu, Adoration [+lee también:
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entrevista: Fabrice du Welz
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by the Belgian director Fabrice du Welz and La Frontière by his compatriot Frédéric Fonteyne. Also worthy of a mention is the enigmatic Undine by the German director Christian Petzold, which sprang from nowhere into this year’s predictions and whose production process is entirely unknown.

Also of note is While at War [+lee también:
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entrevista: Alejandro Amenábar
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by the Spanish director Alejandro Amenabar, Seberg by the Australian director Benedict Andrews, The Lighthouse by the American director Robert Eggers, thedocumentary The Cordillera of Dreams [+lee también:
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by the Chilean director Patricio Guzmán, Positive School by the Moroccan director Nabil Ayouch, Yalda by the Iranian director Massoud Bakhshi, Our Lady of the Nile [+lee también:
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by the Afghani director Atiq Rahimi, A Girl Missing [+lee también:
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by the Japanese director Koji Fukada, Luz by the Chinese director Flora Lau, as well as Blue Train by her compatriot Dalei Zhang, Waves by the American director Trey Edward Shults, The Orphanage [+lee también:
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entrevista: Shahrbanoo Sadat
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by the Afghani director Shahrbanoo Sadat, Litigante [+lee también:
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by the Colombian director Franco Lolli and Persian Lessons by the Russian-American director Vadim Perelman.

On the French side of things, in addition to the titles that have already been mentioned, are various contenders in good stead, such as An Easy Girl [+lee también:
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entrevista: Rebecca Zlotowski
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by Rebecca Zlotowski, Proxima [+lee también:
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entrevista: Alice Winocour
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by Alice Winocour, Sibyl [+lee también:
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entrevista: Justine Triet
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by Justine Triet, Happy Birthday [+lee también:
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by Cédric Kahn, Thalasso [+lee también:
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by Guillaume Nicloux and Gloria Mundi [+lee también:
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entrevista: Robert Guédiguian
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by Robert Guédiguian.

Also standing out among French productions are Perfect Nanny by Lucie Borleteau, Tijuana Bible [+lee también:
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by Jean-Charles Hue, My Traitor, My Love by Hélier Cisterne, The Room by Christian VolckmanMon initiation chez les chamanes by Fabienne Berthaud, Terminal Sud [+lee también:
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by Rabah Ameur-Zaïmeche, L’État sauvage by David Perrault, The Girl with a Bracelet [+lee también:
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by Stéphane Demoustier, Camille [+lee también:
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entrevista: Boris Lojkine
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by Boris Lojkine, Deerskin [+lee también:
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entrevista: Quentin Dupieux
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 by Quentin Dupieux, The Translators by Régis Roinsard, and let's not forget the homage, The Best Years of a Life [+lee también:
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entrevista: Claude Lelouch
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by Claude Lelouch.

When it comes to the oft-disputed debut French film crowd, contenders include the likes of Atlantique [+lee también:
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entrevista: Mati Diop
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 by Mati Diop, Cuties by Maïmouna Doucouré, Jumbo by Zoé WittockBack Home [+lee también:
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by Jessica Palud, The Dazzled by Sarah Suco, Les Héros ne meurent jamais by Aude Rapin, Mes jours de gloire [+lee también:
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entrevista: Antoine de Bary
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by Antoine de Bary, Les Misérables [+lee también:
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entrevista: Ladj Ly
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by Ladj Ly and Qu’un sang impur… by Abdel Raouf Dafri.

Also worth noting are the animated films The Bear's Famous Invasion of Sicily [+lee también:
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entrevista: Lorenzo Mattotti
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 by the Italian director Lorenzo Mattotti and The Swallows of Kabul [+lee también:
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entrevista: Zabou Breitman, Eléa Gobbe…
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 by the French directors Zabou Breitman and Eléa Gobbé-Mévellec, while the midnight sessions may suit Midsommar bythe American director Ari Aster and Muscle by the English director Gerard Johnson.

Finally, among the first international features jostling for a spot at Cannes are Particles [+lee también:
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entrevista: Blaise Harrison
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by Blaise Harrison, Arab Blues [+lee también:
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entrevista: Manele Labidi
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by the Tunisian director Manèle Labidi, Sole [+lee también:
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entrevista: Carlo Sironi
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by the Italian director Carlos Sironi, Paradise Drifters by the Dutch director Mees Peijnenburg, The Wind Blew On by the Icelandic director Katrin Olfasdottir, Perfect 10 by the Scottish director Eva Riley and Song Without a Name [+lee también:
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by the Peruvian director Melina León.

Obviously, the thorny issue of the presence of Netflix films at Cannes still remains, even if would be fantastic to see The Irishman by Martin Scorsese on the Croisette, although it is unlikely anyway due to post-production delays, but who knows...

These very exciting questions about the Cannes 2019 line-up will be answered during section announcements, which (subject to official confirmation) are likely to take place on 18 April for the Official Competition, 19 or 22 April for the Critics' Week and 23 April for the Directors' Fortnight.

(Traducción del francés)

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