I migliori di Cannes per IndieWire

Il sito Indie Wire ha condotto un sondaggio quotidiano sui film del festival, tra inviati e critici di lingua inglese. Il risultato vede in testa la Palma d’Oro thailandese, seguita da molti film di Un certain Regard e fuori concorso, a riprova della debolezza conclamata della selezione ufficiale.

Fremaux avrebbe dovuto avere più coraggio, inserendo almeno il fluviale Carlos, il documentario sulla crisi americana del 2009 e almeno uno dei tre bellissimi film rumeni.

Fa piacere ritrovare Quattro vite di Frammartino, tra i più apprezzati.

Ecco i film più amati:

Fifteen Top-Rated Films
1. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, Official Competition)  film page
2. Inside Job (Charles Ferguson, Special Screening) film page
3. Carlos (Olivier Assayas, Out of Competition) film page
4. Blue Valentine (Derek Cianfrance, Un Certain Regard) film page
5. The Certified Copy (Abbas Kiarostami, Official Competition) film page.
6. Another Year (Mike Leigh, Official Competition)  film page
7. Le Quattro Volte (Michelangelo Frammartino, Director’s Fortnight) film page
8. Poetry (Lee Chang-dong, Official Competition) film page
9. O Estranho Caso de Angelica (Manouel de Oliveira, Un Certain Regard) film page
10. Film Socialisme (Jean-Luc Godard, Un Certain Regard) film page
11. Life, Above All (Oliver Schmitz, Un Certain Regard) film page
12. Les Amours Imaginaires (Xavier Dolan, Un Certain Regard) film page
13. Tuesday After Christmas (Radu Muntean, Un Certain Regard) film page
14. I Wish I Knew (Jia Zhangke, Un Certain Regard) film page 
15. Kaboom (Gregg Araki, Midnight Screening) film page

Todd McCarthy, il miglior critico del mondo, secondo Tullio Kezich, dopo essere stato licenziato da Variety, ha deciso di aprire un suo blog collegato a IndieWire, nel quale ha sparato a zero sulla selezione in concorso e sulle scelte dei selezionatori:

One can only hope that Thierry Fremaux’s pre-festival promise of a splendid lineup for Cannes 2011 holds true, as 2010 has been a year when much of the best fruit fell far from the tree of the competition.

Other than for “Uncle Boonmee,” which I found to have less beauty and distinctiveness than the last Cannes award winner by “Joe” (as Weerasethakul is known to everyone), “Tropical Malady,” the last three days haven’t delivered much to enthuse about.

Best, I suppose, is Doug Liman’s “Fair Game,” the lone American entry in the competition this year, a film charged with righteous fury and a spot-on performance by Naomi Watts…

Nikita Mikhalkov’s widely dismissed “Exodus—Burnt by the Sun 2” was something of a guilty pleasure for me, simply because it’s an old-fashioned, large-scaled World War II epic the likes of which one seldom sees anymore…

Along with debuting Russian director Sergei Loznitsa’s startling, oddly titled “My Joy” (which was shot in the Ukraine and would get my vote for the best director prize) and the worthy Romanian films included in Un Certain Regard, Cristi Puiu’s arduous but cumulatively rewarding three-hour “Aurora” and Radu Muntean’s “Tuesday, After Christmas,”…

Ma i preferiti di McCarthy sono due film fuori misura:

And then there were two of the genuine successes of Cannes 2010, Olivier Assayas’s sensationally fine “Carlos” and Charles Ferguson’s laser-sharp, manifestly instructive “Inside Job.” A documentary about the financial crisis, the latter could have used the extra profile a competition berth would have afforded it. As for “Carlos,” we’ve heard that it was the objections of French cinema producers that kept the five-and-a-half-hour mini-series (currently showing on French TV) out of the competition, as they didn’t want to be embarrassed by a television production beating their features for the Palme d’Or.

 

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