Cannes 2025 – Day 5: The Die missed, My Love, Hafsia Herzi’s interview, Raoul Peck shock
Every day, the hot point live from the 78th Cannes Film Festival.
The film of the day: Die, My Love by Lynne Ramsay
Scenes of A arty and desperate marital life. Lynne Ramsay encloses Jennifer Lawrence and Robert Pattinson in a countryside in the countryside. The film opens onto a strict and motionless plane of a Home (little) Sweet Home whose perspective fails miserably on a faraced living room. Our two lovebirds go around the owner. The bodies warm up a bit. Soon they will stretch. It is the title that says it. There will be howls, a shouting kid and a dog that barks.
Ramsay (We need to talk about Kevin,, A Beautiful Day…), As we know, is not a laze. The novel by Argentina Ariana Harwicz which she adapts here is articulated in a long monologue of a desperate mother. The opportunity for the Scottish filmmaker to envisage the story as a slow mental vacantness whose assumed redundancy would take care of electricity at each turn. From the outset, J-Law walks the lawn like a feline, a knife between his teeth. R-PATTZ, in a service feature, tries to change. But the game is uneven. The actress, brilliant, takes everything. The film is for its part. The staging would be brutal but bathed in reality in the affiliation: work on the sound studied, additional music very (too?) About, points of tensions expected, allegories boat …
This Die, My Love is a managed authorist object, limited in his remarks. On the outskirts, Sissy Spacek, a desolate and a little dropped mother-in-law, illuminates these darkness. During a chaotic sequence, Nick Nolte does not reassure, on the other hand, to his state of health. And during this time, baby cries.
The interview of the day: Hafsia Herzi for The little last
The actress and director caused a sensation on Friday with her third feature film in competition in Cannes. We would see The little last Leaving with a price, it remains to be seen which one. In the meantime, we asked Hafsia Herzi to tell us about the inheritance of Abdellatif Kechiche, with whom she worked on The seed and the mulewhich permeates his cinema. “”It doesn’t bother me to be brought back to Kechiche, but the life of Adèle and the youngest are very different films“said the young director.
The shock of the day: Orwell 2+2 = 5 from Raoul Peck
After I am not your negro On James Baldwin, Raoul Peck signs a new masterful portrait devoted to a major writer of the 20th century terribly topical: George Orwell. A terraced and edifying film narrated by Damian Lewis from the author’s words, in particular the correspondence he had during the writing of 1984while he suffered from tuberculosis. Once on one of the highlights of the festival, presented at Cannes Première.
We live in dystopia imagined in the 1940s by the British visionary novelist, it is not a scoop. But the documentary master is working to demonstrate the relevance of his remarks with surgical precision. Orwell’s observations, illustrated by the images of Trump and the Capitol assault, or Putin justifying the invasion of Ukraine in the name of denazification, are cold in the back.
The archive and assembly work carried out by Peck on Orwell 2+2 = 5 is impressive. Raoul disperses like a puzzle the newspaper imagined by Orwell who pollutes our daily life by changing the meaning of the words. The three mantras of the totalitarian party of 1984 (“War is peace“,”Freedom is slavery“,”Ignorance is strength) Serving as a cutting to this film promised to Golden eye rewarding the best Cannes documentary. A blackboard which ends however on a small positive note: “Hope comes from proletarians”.
The reconstruction of the day: Paris 1959 Paris New wave
The Texan Richard Linklater moved to Paris to recreate the shooting ofOut of breath. Her New wave had been announced as a film “Tented in the style and mind of Godard turning Out of breath ”. But what does that mean exactly? We understand it from the first seconds of the film, which looks like an unprecedented JLG emerges from the limbo of the time. Fanciful style and bonuses, young unknown actors giving the impression of having won the role of their life, an incredible reconstruction of late fifies …
The pastiche impresses. And confirms the crazy talent of Linklater when it comes to recreating space-time bubbles in which we would like to live. Before, they were 1969 Texas Bleds (in Apollo 10 ½), 1976 (Dazed and Confused) or 1980 (Everybody Want Some !!). There, it is the Paris of 1959, where we meet Rossellini at the editorial staff of Cinema notebooks and Bresson turning Pickpocket in the metro. It feels like it. It’s stunning. Really charming. And maybe also a little too respectful to go beyond the brilliant exercise in style.
The perf of the day: Manon Clavel in Kika of Alex Poukine
Presented at the Critique Week, it is the film on the most singular and unexpected mourning seen for a long time. The story of a Belgian social worker struck by the sudden death of the man for whom she had a love at first sight and left the father of her daughter. And who, now alone, pregnant with him, without financial stability or housing, will find himself, by a competition of circumstances to … learn the profession of dominatrix. And make a living as sex worker!
Coming from the documentary, Alexe Poukine avoids here all miserabilism as any “exotic” representation of the world BDSM over this reconstruction really not like the others who also required an interpreter like no other to marry this rollerblading emotional coaster without ever falling from the merry -go -round. Discovery it’s 6 years ago in The truth From Hirokazu Kore-Eda, Manon Clavel is of that caliber. For her first big role on the big screen, her virtuosity and her natural mixed force force admiration and make her the true co-creator of this eminently complex and incredibly endearing female character. The art of opposites in all its splendor.
The scene of the day: the mass killing of Sons of the Neon Night
Twelve years later Rigor Mortisthe musician (and therefore director in his spare time) Hong Kong Juno Mak arrives in Cannes with Sons of the Neon Night. On paper, an ideal midnight session where drug traffickers, murderers, malaimable police and a crime union are met. Cold shower, the film is actually a small disaster: completely incomprehensible intrigue, often cheesy action sequences … We would have lost two hours of sleep if the second scene had not sent us the dream.
In a teeming and snowy Honk Kong, two masked men come out of the metro, arrest their automatic rifles and start to shoot passers -by. As superb as it is staggering: blood mixes with snow, the shots tear the city, the bodies fall like stones, the cops burst, a bus explodes and a kid on the ground closes their eyes as hard as possible … It is eminently virtuoso and rhythmic. If only the whole film could be of this caliber …
Today in Cannes
Standing campers and high hearts! Today we obviously do not forget L‘Secret agent from Kleber Mendonça Filho and The Phoenician Scheme from Wes Anderson in competition and we head towards Marcel and Mr. Pagnol by Sylvain Chomet in special session. On the Week of Critics’ side, let’s watch the very intriguing A USEFUL GHOST of Ratchapoom boonbunchachoke and the conversation between Alexandre Desplat and Guillermo del Toro For the Sacem music lesson.
Let’s not forget The Kabuki Master of blood he lee at the fortnight, the very enticing documentary on Shia Labeouf by Leo Lewis O’Neil and The richest woman in the world (On Liliane Bettencourt) by Thierry Klifa. And after all that, we return to his penates and try to sleep a little anyway.
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