What’s a Definitive Look at the Cannes Film Festival?


of Cannes sidebars and parallel festivities start today (apart from the Cannes Classics, which opened yesterday with the restoration of “The Mother and the Whore”)

You’ll probably hear talk about Un Certain Regard, the biggest new movie sidebar of the official selection. The name of the department is often translated into English as “a particular look”; this doesn’t quite reflect the spirit of the event about looking to new horizons and filmmakers.

In fact, Un Certain Regard functions as a stark mirror image of the main competition. Screenings are at the Salle Claude Debussy, which doesn’t have the same evening dress restrictions as the larger Grand Théâtre Lumière, in which the competition films play. This year’s program, headed by Italian actress Valeria Golino, has its own jury. While the awards aren’t as scrutinized as the Palme d’Or, Un Certain Regard’s top prize went to filmmakers with great careers in the past, such as Thailand’s Apichatpong Weerasethakul and Greece’s Yorgos Lanthimos.

However, Un Certain Regard cannot simply be described as a series of promising filmmakers. Occasionally, programmers throw a past Palme contestant like Sofia Coppola or Claire Denis into the mix, and that inevitably seems like an insult to those directors, regardless of whether that was the intention or not.

Un Certain Regard also serves as a platform for actors to make their feature directorial debuts. This year Riley Keough is back with Gina Gammell in “War Pony,” which she co-directed. It is billed as a growing up story about two young Oglala Lakota men.



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