De la sección oficial se estrenaron de Un Conte de Noël de Francia, y Üç Maymun [The Three Monkeys] de Turquía.
Un Conte de Noël es la cuarta película que el francés Aranud Desplechin lleva a Cannes en busca de la Palma.
Su última película fue la brillante Rois et Reine, y esta vez regresa junto a su musa, la eterna Catherine Deneuve en esta historia sobre una familia disfuncional.
Imágenes del photocall en la mañana y el estreno en el Palais en la tarde:
Las reacciones son encontradas. Screendaily la adora:
"A beautifully-cast, tragic-comic ensemble piece in which an extended family gathers for the title holiday, Arnaud Desplechin's A Christmas Tale is an intricate, accomplished patchwork of sometimes nutty but always believable human behaviour. Lengthy but never dull, this lively tale is sufficiently engrossing to interest even those who don't usually go for Desplechin's frank and discomfiting approach to interpersonal and intergenerational relationships." -- Screendaily.
Pero The Hollywood Reporter y Variety no tanto:
"Desplechin is a past master at this sort of Chekhovian orchestration of multiple story lines. The danger, though, is of information (and sensory) overload as characters unburden themselves, sometimes at great length, in dialogue that often sparkles, though opinions might differ as to whether it is witty or merely febrile. Detached irony is the favored register of a literate, occasionally literary, script co-written by Desplechin with Emmanuel Bourdieu. What’s troubling is its lack of perspective on anything beyond the narrow, navel-gazing concerns of its characters. The spectator is hard-pressed to care." -- The Hollywood Reporter.
"Performances and direction, rather than the yards of inconclusive dialogue, are what keep Arnaud Desplechin's "A Christmas Tale" from curdling in its own juices. Dysfunctional family ensembler, just about held in focus by Catherine Deneuve's regal perf as a mother who's been diagnosed with liver cancer, is more tolerable and less boring than some of Desplechin's previous talkfests, like "How I Got Into an Argument" or "In the Company of Men," but beyond Gaul faces only minimal business from hardcore addicts of the helmer and gabby French cinema." -- Variety.
En competencia también, Üç Maymun o The Three Monkeys, dirigida por el turco Nuri Bilge Ceylan, es llamada unánimamente una de las entradas definitivas del Festival y de Hatice Aslan como una de las candidatas más seguras por la Palma a Mejor Actríz.
Nuri Bilge Ceylan tampoco es un desconocido en Cannes. Este también es su cuarto trabajo representado en el Festival, en el que ya ha ganado el Premio del Jurado en el 2002 por Uzak, el FIPRESCI en el 2006 por Iklimler.
De izquiera a derecha los actores turcos Ercan Kesal, Yavuz Bingol y Hatice Aslan, el director Nuri Bilge Ceylan, el director artístico y guionista Ebru Ceylan y el actor Ahmet Rifat Sungar.
Las reacciones también son unánimanente entusiastas:
"I was hooked from the get-go -- gripped, fascinated. I was in a fairly excited state because I knew -- I absolutely knew -- I was seeing the first major film of the festival. Three Monkeys is about focus and clarity in every sense of those terms, but it was mainly, for me, about stunning performances -- minimalist acting that never pushes and begins and ends in the eyes who are quietly hurting every step of the way.
A 50ish politician named Servet (Ercan Kesal), fighting off sleep as he drives on a narrow country road, hits a man and kills him. Freaked, he drives off without calling anyone. The next day he convinces the quiet-mannered Eyup (Yavuz Bingol), his longtime driver who's abut the same age, to confess to the crime and do the jail term, promising to give him a lot of money in addition to paying his salary to his wife Hacer (Hatice Aslan), and son Ismail (Ahmet Rifat Sungar) while he's in stir." -- Jeff Welles.
De la sección Un Certain Regard, la que más llamó la atención fue el documental de James Toback Tyson, sobre el controversial boxeador:
"Those who think of Mike Tyson as just an animal unleashed upon an unsuspecting world should welcome the alternative perspective provided by "Tyson," James Toback's revelatory closeup look at the tumultuous life of the former heavyweight champ. Although straightforward in format, the film capitalizes on an obviously intense connection between filmmaker and subject with psychological acuity and emotional power. Sports fans will get their fill, but the pic's sensitivity to its exceedingly complicated subject opens up broader commercial horizons in theatrical, TV and homevid worldwide." -- Variety.
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