Following lineup announcements from the Cannes Film Festival and Critics’ Week, the Quinzaine des Réalisateurs, or Directors’s Fortnight has presented the slate for its fiftieth edition, running from May 9 through 19.
“As per the tradition of the parallel section,” writes Screen’s Melanie Goodfellow, the 2018 edition will open “with the presentation of the Carrosse d’Or award, honoring a filmmaker whose work is imbued with ‘innovative qualities, courage and independent-mindedness.’ This year’s recipient, as previously announced, is Martin Scorsese who will attend for an on-stage conversation after a screening of Mean Streets, which first played in Directors’ Fortnight in 1974.”
FEATURES
Ciro Guerra and Cristina Gallego’s Birds of Passage will be the opening film. The official synopsis via Jude Dry at IndieWire: “Birds of Passage charts the origins of the Colombian drug trade, through the epic story of an indigenous Wayuu family that becomes involved in the booming business of selling marijuana to American youth in the 1970s. When greed, passion and honor collide, a fratricidal war breaks out that will put their lives, their culture and their ancestral traditions at stake.”
Gianni Zanasi’s Troppa grazia will be this year’s closing film. Screen’s Melanie Goodfellow notes that it stars Alba Rohrwacher “as an architect battling to save a beautiful valley earmarked for a development.”
Mohamed Ben Attia’s Weldi. From the Doha Film Institute: “Riadh is about to retire from his work as a forklift operator at the port of Tunis. The life he shares with his wife Nazli revolves around their only son Sami, who is preparing for his high school exams. The boy’s repeated migraine attacks are a cause of much worry to his parents. But when he finally seems to be getting better, Sami suddenly disappears . . .”
Panos Cosmatos’s Mandy. When it premiered in the Midnight program at Sundance, A.V. Club’s A. A. Dowd wrote that, at “over two gonzo hours, it combines giallo, Clive Barker, Death Wish, prog rock, heavy metal, Heavy Metal, Guy Maddin, Mad Max, the dueling-chainsaw climax of The Texas Chainsaw Massacre 2, Nicolas Roeg, and Nicolas Cage at his most bugging-out unhinged. Were scientists to engineer an uncut, 100-proof cult sensation, it would probably look, sound, and kick like this.”
No subtitles yet
Arantxa Echevarria’s Carmen y Lola. Lola, a sixteen-year-old gypsy girl who sings in a choir and is the first in her family to be heading to university, falls for Carmen, a hairdresser who, at seventeen, is planning to marry her boyfriend.
Philippe Faucon’s Amin. From Fabien Lemercier at Cineuropa: “Written by the director along with Yasmina Nini-Falcon and Mustapha Kharmoudi, the plot focuses on Amin, a man who has come from Senegal to work in France, leaving behind his wife Aïcha, and their three children. He leads a solitary life in France, where the only space he occupies is his home and the building sites on which he works. Most of his earnings are sent to Senegal. One day, he meets a woman, Gabrielle, and a relationship is born.”
Romain Gavras’s Le monde est à toi. Again, it’s Fabien Lemercier who tells us that “the story apparently centers on a former drug dealer who wants to set up a small business in Algeria and who is counting on the money he earned while dealing, which his mother is supposed to have hidden away for him. But unfortunately, she has gambled it all away. He is then forced to go back to a life of crime and, together with a friend and his ex, agrees to one last deal to get his plans back on track.” With Karim Leklou, Isabelle Adjani, Vincent Cassel, and Oulaya Amamra.
Ognjen Glavonić’s Teret. From Neil Young in the Notebook: “Glavonić’s documentaries Živan Makes a Punk Festival and Depth Two augur very promisingly for the Serbian writer-director’s segue to fiction with the decidedly grim-sounding delve into his country’s bloodstained past. Set in 1999, it’s a road-movie about a truck-driver who slowly becomes perturbed by his latest cargo as he navigates the bombed-out terrain of a war-ruined Yugoslavia.”
Debra Granik’s Leave No Trace. Dispatching from Sundance to the Village Voice, Bilge Ebiri wrote that, following Winter’s Bone (2010), this is “another movie focusing on the experiences of a young woman living on the margins of society—this time, rather than a seventeen-year-old trying to hold her impoverished family together, it’s a thirteen-year-old trying to survive in the woods with her father. It might not have the genre elements that helped make Winter’s Bone something of a breakout, but Leave No Trace rivets and terrifies in its own way.”
Julio Hernández Cordón’s Cómprame un revólver. The synopsis from Cinélatino: “In a world overcome with violence, where women are prostituted and murdered, a girl wears a Hulk mask and a chain around her ankle to hide her gender and help her dad, a tormented addict, take care of an abandoned baseball field where drug dealers play. He has successfully kept her safe until the day when he, who is a bass drum musician addicted to crack, is asked to play at a drug lord’s party out in the desert. The father has no choice but to bring the girl along. The party is huge; there’s even a concert stage. Hulk explores around until the main artist goes on stage and congratulates the drug lord. In seconds, the place is flooded with the red lights from laser sights and a shootout begins. Hulk’s father hides her in a cooler. The next day, Hulk wakes up to find herself surrounded by chaos and death. In this stage, the girl fights for her freedom and tries desperately to escape.”
Mamoru Hosoda’s Mirai.
Ming Zhang’s Ming wang xing shi ke.
Marie Monge’s Joueurs.
Guillaume Nicloux’s Les Confins du monde.
Gaspar Noé’s Climax.
Jaime Rosales’s Petra.
Pierre Salvador’s En Liberté.
Stefano Savona’s Samouni Road.
Beatriz Seigner’s Los Silencios.
Agustín Toscano’s El motoarrebatador.
SHORTS
Marco Bellocchio’s La lotta.
Nicolas Boone’s Las cruces.
Patrick Bouchard’s Le Sujet.
Patrick Bresnan and Ivette Lucas’s Skip Day.
Emma De Swaef and Marc Roels’s Ce magnifique gâteau.
Gabriel Harel’s La Nuit des sacs plastiques.
Félix Imbert’s Basses.
Carolina Markowicz’s O órfão.
Juanita Onzaga’s Our Song to War.
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