GLAMOUR FASHION AND BEAUTY Magazine - Special edition II Cannes film festival

Cannes Festival 2021

Jodie Foster

SPECIAL EDITION PRESS CONFRENCES

IN THIS YEAR OF TRANSITION THE CINEMA HAS BEEN MY LIFELINE

D’OR Julia PALME FOR THE FILM Ducournau TITANE BY GF&B MAGAZINE | Issue 5

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Editorial

Cinematographic art

C

reativity has no limits, Cinematographic creativity in the other hand is not linked to a limited reality but goes beyond, it is a set of potential readings that are characterized by the multiplicity of its artistic sources and the diversity of its intellectual, cognitive and ideological reflections. Despite this, it remains the icon of artistic work crowned with beauty and vibrant intellectual vision.

This applies to the dynamic opening process of three pillars divided between cinematographer, a good film and a viewer. If cinema is a multi-faceted industry, then its essence is about thought, creativity on the basis of contemplative matter,it is a material creative production which involves both an expressive mediator, represented by the cinematic image mixed with insightful thoughts, along with a moving image and representative performance that results in a marvelous artistic creativity. Congratulations to creators who keep pace with development, its events, then translate them into a tangible reality that simulates hearts and minds.

MH

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Contents Spike Lee Jury President

11 Annette

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Anh Viet Chau

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Anh Viet Chau

Leos Carax

16 Stillwater Tom McCarthy

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Films awarded at the Cannes Festival 2021 • • • • • • • • • • • • • • • • • • • • • • • •

PAR UN DEMI CLAIR MATIN of Bruno Dumont TOUT S’EST BIEN PASSÉ of François Ozon LES OLYMPIADES (Paris 13th District) of Jacques Audiard THE FRENCH DISPATCH of Wes Anderson TRE PIANI of Nanni Moretti RED ROCKET of Sean Baker NITRAM of Justin Kurzel UN HÉROS (A Hero) of Asghar Farhadi TITANE of Julia Ducournau PETROV’S FLU of Kirill Serebrennikov LINGUI of Mahamat-Saleh Haroun FLAG DAY of Sean Penn BERGMAN ISLAND of Mia Hansen-Love A FELESÉGEM TÖRTÉNETE (The story of my wife) of Ildikó Enyedi DRIVE MY CAR of Ryusuke Hamaguchi LA FRACTURE of Catherine Corsini ANNETTE of Leos Carax JULIE (EN 12 CHAPITRES) (The worst person in the world) of Joachim Trier HYTTI NRO 6 (Compartment No.6) of Juho Kuosmanen BENEDETTA of Paul Verhoeven LES INTRANQUILLES (The restless) of Joachim Lafosse MEMORIA of Apichatpong Weerasethakul HA’BERECH (Le genou d’Ahed - Ahed’s knee) of Nadav LAPID HAUT ET FORT (Casablanca beats) of Nabil Ayouch

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GLAMOUR FASHION AND BEAUTY MAGAZINE A Socio-Cultural Magazine published in three languages : English. Arabic. French Publishing Director & Editor-in-Chief : Hayet Medjdoub Public relations USA «New York» : Flo Medjdoub Public relations France «Paris» : Michelle Bernard Translated to English by : Flo Medjdoub Cover picture : Jodie Foster Director of Photography : Anh Viet Chau Design/Illustration : Amine M Layati Credit photo Anh Viet Chau - @be1stof Adress : 90 Washington Street Suite 9S, New York, NY 10006 Special Edition II - Cannes Festival 2021 -

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OFFICIAL JURY OF THE 74th FESTIVAL - Jury President: Spike LEE (United States).

Maggie GYLLENHAAL (United States), Jessica HAUSNER (Austria), Mati DIOP (France, Senegal), Mélanie LAURENT (France), Mylène FARMER (Canada, France), Tahar RAHIM (France), Kleber MENDONÇA FILHO (Brazil), SONG Kang-Ho (South Korea).

MYLENE FARMER

For my part, it’s a once in a lifetime moment, I don’t think you can refuse. I m myself very honored and very happy to share all this with you all and thank you to Thierry Frémeaux and his whole team.

JESSICA HAUSNER

When I received the e-mail inviting me to the jury, I was extremely happy, satisfied, it was a great honor, because a few days earlier I had seen the list of films in competition and I said to myself hey, I’m going to see this film, I’m going to see this one, this one too, when I’m going to see these films? Now I’m going to see them all so it’s a big opportunity.

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MATI DIOP When I received the call, I was deeply touched by the confidence expressed, I felt extremely lucky at the idea of ​​living this experience, the jury that I did not yet know at the time and that I discovered a short time ago, I am really extremely happy, honored and delighted at the idea of ​​living this experience which begins tonight, I don’t know yet what it will look like, but we are all extremely happy to be here.

SPIKE LEE

My story with Cannes started 25 years ago (a quarter of a century), I’ve been here several times, it’s an honor for me to be here, I can’t wait.

TAHAR RAHIM

Hello, I felt very spoiled, thank you Thierry Frémaux, thank you the Cannes Film Festival for this honor, the rule is that we wait 24 hours to answer, I said no, I won’t wait 24 hours. Anyway, it’s an honor for me to find myself with such a great company.

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MAGGIE GYLLENHAAL

I had just finished mixing my film, I got a call, I was at the hotel with my husband, I was going to the beach because I had worked a lot, I got the email just as I got to the beach, then we dreamed a lot about this festival and this presence on the jury, it’s an honor to have been invited.

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SPIKE LEE

Cannes is the number one festival for my work with no disrespect to other festivals. The best times I had in Cannes had nothing to do with cinema it was in the 80s, so I came to Nice I left from New York.

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MÉLANIE LAURENT

Hello, I have the impression that it’s a reaction on several levels to the phone call where we don’t wait 24 hours, we say yes right away, then we have a lot of trouble realizing, even last night when we all had dinner together, we perhaps realized a little more that we were going to share these great moments of this very special almost historic Festival which brings us back to theaters, to life, is special for all of us, so we’re more honored to be part of. © Photography by Anh Viet Chau 3

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KLEBER MANDOCA FILHO

Tonight is going to be my first time in a movie theater in 15 months so thank you very much.

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SONG KANG HO

When I received the email inviting me to the festival, I wondered if it was really going to take place given the epidemic, the fact that we are all gathered here is a true miracle, it is a great honor to be here.

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MELANIE LAURENT A few years ago when Frémaux called me, I was extremely pregnant, I was going to give birth. He said to me: You have to come to my festival in Lyon to sing for TARANTINO. I answered him: You know that I will give birth any second, when I saw his name on the phone for the second time, I said to him: Don’t ask me to come sing tell me that you call for something else? What kind of jury will I be? I would say sensitive, I believe that this confinement, the pandemic, the somewhat suspended year, this feeling of emptiness, also to see very few people return to theaters, I can’t wait to experience this sensitivity through films and emotions, I realize that we are not alone we are all together, what will be exciting is to confront our emotions our tastes, I imagine that the complexity of being on a jury is to agree and to be happy with the choice will make. As far as a director, I remain very naive, I manage to completely rediscover this innocence as much as a spectator, on the other hand in the production, yes of course, there is a before and after having made a first film and even in the relationship with the director, I know what they are living, I understand, I accompany a director much more since I am. A good palme d’or? I don’t know if there are criteria, that’s the beauty of a festival, it also depends on what you see, what is going to make a film all of a sudden to detach from others once again, I believe that the most moving thing is to see what will touch all our personalities, will there be, for example, a film that we will unanimously like? It will be so wonderful, I don’t know if it exists? I imagine that there are plenty of years where that must have happened all of a sudden, we’re all going to say to ourselves it’s this actress, this actor, this film, it’s this Palm of gold. It would be absolutely amazing.

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JESSICA HAUSNER I think Cannes is a very important place for all screenwriters. It has become clear since last year because of the pandemic. It’s a sort of showcase that films need, it’s a promotion machine that’s in a way absolutely necessary so that the public can see the films and the directors, it’s very important.

My best memory of Cannes, I think, is when I presented my first feature film (Lovely Rita) in 2001, because at the time, I said to myself I was going to conquer the whole world, I always had this idea, it was fascinating back then.

I’m always the same kind of jury when I’m on it. I’m very enthusiastic so I have a hard time compromising, I’m pretty straightforward, either I love a movie, or I’m going to be fiercely against it though, I’m like no, I’m not going to do it this time, I’m not going to start a fight nevertheless sometimes, I have to insist, we’ll see.

A good Palme d’Or? This is a very difficult question because I think there have been very different versions of a good Palme d’Or. I like to be surprised.

A film that is unique, that is original, knowing that it changes my point of view in an amazing way, that’s what is important for me, to have a perfect or wellmade film.

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ANNETTE

LEOS CARAX DIRECTOR

JAPAN is a very special country because there is someone in this country who has been helping me since almost the beginning of my career, since my 2nd film, he is called Kenzo HORIKOCHI, we have been friends since 1980. I take money where I can to make my films, but this person in JAPAN is quite special, he helped me with all my film projects. The film illustrates the role of musicians. I am like a 3rd brother for the MAEL brothers who are composers, incredible musicians, who have traveled all over the world, you can travel with these instruments, with your voice. When I discovered the music of David BOWIE and that of the MAEL brothers, I was 14 years old, I felt at ease with their music. I’ve always wanted to shoot a film with music, that’s why you had to meet the right composers. There are three things I want to say, Russel and Ron Mael gave me a huge gift, I wanted to give them JUIN 2021

something. There were three gifts: Music, the English language which was my mother tongue even if I lost it a little bit and then there was also the fact that I did not imagine it because they are the ones who imagined the story. I’ve always wanted to make a film in English, I love American singers, it’s like working a little on opera. It was not me who imagined ANNETTE, we receive an idea and we took a flight from this idea we create a whole world, of course there is Marion, Simon, Adam who was there from the start, I imagined the film for him.

It’s nice to imagine a movie for someone.

CHARLES GILLIBERT: PRODUCER The producer for the financing of a film, plays a very important role for us. This film has a long history so it played a very important role in redeeming the rights. There are people who at the very beginning of this project helped us, like ERWIN CHABATIER. We started working together 3 years ago trusting LEOS we had the opportunity to launch this project with Paul Dominique.

RUSSEL AND RON MAEL COMPOSER, SCREENWRITER We wanted to explore other ways of working with music, we looked for other forms, other structures.

We sent our album to LEOS CARAX for his opinion, shortly after, he sent us a positive answer that he wanted to think about, then he came back to us to say that he would like to make a film on this basis, we respect the work of LEOS so much and the idea of ​​making a film was like a dream come true for us. For a period of 8 years, we worked with LEOS in Paris, in Los Angeles, giving shape to the project.

In a musical, the music plays an important role in the storytelling, it takes us to explore different areas than what we do when composing a song.

This project has different requirements, we cooperated and worked a lot on our side, it’s a different attitude when composing for a musical.

For the movie Annette, there is an album with the soundtrack and there is an album with the highlights of the music with 42 tracks in the movie.

When we had conceived this idea, it was in two dimensions, it was an audio recording and even if we had the project to put it on stage we did not see what it could give. We didn’t imagine it, but when LEOS arrived this project took an unforeseen form so we had created something purely musical, the scene on the boat during the storm, in our minds, we imagined what it could give , but LEOS gave substance to this image. He took it to another level that we never imagined. © Photography by Anh Viet Chau GF&B MAGAZINE | Issue 5

MARION COTILLARD ACTRESS I prepared myself before the shoot as much as I could. The specifics of this film, it is a musical, the songs are filmed live and of course we trained in these songs. The difficulty when we change, in general in a musical we record in the studio what we sing, then we do the playback during the shooting but there, it was not the case, it was live, this means that it changes the way of singing with each movement of the body so we have a lot of actions in singing. The preparation was slightly different than for any other musical project, so I trained myself to sing. We move a lot, lying down or in motion, it was an interesting way to experience these songs, this means that we can explore the little incidents that come back, for example we can breathe more properly when we need to, that’s what makes it interesting.

I was not very familiar with opera. I saw my first opera when I was preparing the film ANNETTE, it was a real shock to be pierced with emotion by a voice, by something that I will not even be able to explain knowing that opera singers have a very particular relationship with emotion because it will transform their voice so everything is channeled in this voice and not somewhere else. The opera singer cannot sing while crying. When you are at this level of excellence at the same time what is happening to the spectator is very strong so I discovered a little more about opera while I was preparing ANNETTE. While preparing the film, LEOS gave me archival footage of Romy SHNEIDER. We talked a lot about love, about the characters, how do they meet? How do we see the beginning of this beautiful love story?

In these archive footage, Romy SHNEIDER has an interview with an actor and it’s interesting to see her when she’s not talking, when she’s just watching him.

This meeting was important for my preparation of the film and on the set.

For me, it’s more a need for recognition than fame.

We all need to be recognized by our parents, by our family, our friends to find our place, so I found this aspect of the film to be very interesting in shaping the character. I used to be very widely recognized, but I still have this need for recognition so it’s a big question in my personal life why do we need to be seen, to be heard, to be loved by so many people we don’t even know and how can all of this shape your self-confidence and how it can destroy you too especially if you don’t have enough self-esteem?. © Photography by Anh Viet Chau JUIN 2021

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JODIE FOSTER When Thierry FREMAUX called me to tell me that I was going to receive the honorary palme d’or, it was very moving because I started my career in France with TAXI DRIVER, I was 13 years old, I had already made films, but it was the beginning of something significant for an author of a film. For me cinema is something brilliant because you manage to make a film for a year or two or even 3 years as much as director and then, you have 2 years to reflect and see what is passionate. © Photography by Anh Viet Chau GF&B MAGAZINE | Issue 5

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BONG JOON HO Director, Actor, Screenwriter It was a pretty crazy day, I still didn’t realize what happened that day, it was when I saw the palme d’or at my home in Seoul that I started to realize that it really happened. For me Claude Chabrol and Henri-Georges Clouzot are great emblematic figures. These two people really marked my professional film career. Very young before I started studying cinema, I was able to see one of their films and it traumatized me in a good way, it was so powerful that it made me want to do the cinema. These two people were very important to me, to my career.

There is a special atmosphere in my shoots, I think it’s quite specific to Korean cinema, regardless of the budget or the size of the project, we like to create a family and friendly atmosphere. We get together between movie fans to make a film, I think that helps a lot to put the actors at ease, it helps us a lot as much as directors. For my films, I had an idea in mind from the start to transmit a personal message, in particular for the protection of animals, but for parasite, I did not want to consciously transmit a message for society, it is rather a personal quest to go to the extreme of a genre that I personally was looking for. I suppose when we want to transcribe the history of each person who constitutes a society, we are obviously confronted with a political or societal problem and that is why in a natural way, we manage to see this aspect in parasite. I am currently working on two projects. The first film will be shot in English, I am working on the adaptation of a novel that has not yet been released. The second project is an animated film, I finished the script this year in January. This is a big project that I have been working on for a long time.

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TITANE

VICENT LINDON The 1st thing, I put myself in physical danger.

I am 62 years old and doing sports 2 days for 2 years at this age is not the same when you are 30, I had to be careful. I am extremely perfectionist, I like to work on things before making a film.

JULIA DUCOURNEAU PRODUCER TITANE was born from my desire to put love at the center of the story because unconditional love, absolute love stripped of all determinism appears in grave, so I wanted to go further in my discovery, in everything possible to accept the other. When we talk about TITANE, not everyone thinks of a love story, but for me it is one.

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TOUT S’EST BIEN PASSE

FRANCOIS OZON When Emmanuelle’s book was published, she immediately asked me to adapt it to cinema, but at the time, I didn’t feel capable or in the mood to do it, in addition it’s such a personal story. Of course the book had touched me, but I couldn’t make it my own. I couldn’t imagine myself in this story.

Unfortunately, Emmanuelle died of cancer so the film could not be made. Over time, I re-read the book, so I thought it was time to adapt it. I got older, I experienced personal bereavements that made me understand history better. Before I started writing the screenplay, I thought of an actress «Sophie Marceau».

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SOPHIE MARCEAU It’s a magnificent role as much as it is accompanied by the truth, this character existed, she is a friend of François so there is something very intimate and it deals with intimacy, I like these relationships. I was very happy to shoot with François.

The character of Emmanuelle is a very lively character for me. She is a woman who loves life. François told us a lot about her, I did not know her personally, but I had a lot of elements that reminded me that she was an amazing accompanying person who was a lot for life. The paradox is that it is her own father who asks to help her die. This film has a quality in any case, we will all think about that, we don’t really like the idea of ​​this death, but at some point we have to organize it.

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STILLWATER

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LILOU

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I experienced going up the stairs for the first time in my life like a dream, it’s weird and at the same time super cool, I don’t know how to explain it.

TOM MCCARTHY DIRECTOR I think the film is multi-faceted on some level. This film is about how Americans are perceived today.

I think you see it in the character of Bill BAKER when he comes to France to see his daughter again in the end, it’s a film about relationships, connections, liberation, maybe also redemption. We work with the scriptwriters, we tackled several facets in this film. Our country the United States was very tormented at the time, it was in full change, in full transformation and I thought it was useful to work with other French authors who had more hind sight, perspectives on all of this and that they could introduce the character of Bill to Marseille. © Photography by Anh Viet Chau 2

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MATT DAMON First of all, I played with 3 fantastic actresses. This casting is extraordinary, we had wonderful actors from Marseille, from small roles to the actresses who are with me, so it was very easy to communicate with them because they really lived their characters and we really believed thanks to them that all this was really happening, so it’s all about these relationships on the one hand, but also as I’ve been able to say in the past in my career when working with great actors, well these great actors are good for both of us, the actor himself and the one opposite. For LILOU, who was in her first film, from day one I understood that I was playing with a 9-year-old actress who played as well as Meryl STREEP.

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DE SON VIVANT

DIRECTOR EMMANUELLE BERCOT I attended Doctor Sara’s sessions, his breakfasts, there were songs for example, the tango in the chemotherapy room, it’s something I’ve seen, I could never have invented. I am very attached to the memories I see, I have always wanted to reproduce them. I wanted to keep the songs in English. The film is not a documentary about the disease or the hospital. I took all possible liberties. Anyway in France, you will rarely see an oncologist take his guitar and put his foot on the chair.

For emotions, I love crying in the cinema, it’s really a total jubilation for me so I write, things that make me cry, especially since I cry very easily, maybe I’m not a good barometer. I was guided by what is moving for me and for those who like it.

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CATHERINE DENEUVE We are very protected, very watched, it’s true that we actors find ourselves in the studio on the set and all of a sudden all the people in front of us are wearing masks. You have to get used to that, we always say that it’s the eyes that express themselves the most, but when you hide half of the face you see too little, you have to do it, but after a few days the situation is so strong and particular that we forget, I was a lot with my son the actor.

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CECILE DE FRANCE I tried not to manufacture it’s true, it wasn’t too difficult on the set of Emmanuelle it’s not complicated besides Gabriel plays his own role so we are immersed in reality, there is also a lot of talk about this notion of truth and being in the present suddenly I had a lot of time to admire Catherine, to listen to benoit, and to learn a lot of things with Gabriel. He taught me things about life, he is a great philosopher and humanist, I progressed by talking to him,I was guided wonderfully

by Emmanuelle who took my hand, who trusted me and who encouraged me, I felt loved through the camera with this character humility, I had a lot of fun giving my looks. Emmanuelle really films in the depths of the soul through the eyes.

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FLAG DAY

SEAN PENN You can always think of a few logical answers, but sometimes when a director talks too much about the original story, it’s less clear. What appeals to me most is the image that I had in mind when reading this book, sometimes everything can be based on characters, but to find these characters, for me it starts with images and the 1st image what I had in mind was Dylan’s face that came into my mind. Of course, the story is touching, exciting for all sorts of reasons which are quite clear. Jennifer has written a wonderful reference book.

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JENNIFER VOGEL When it’s a personal story we always try to put it in the right hands. It’s only natural that we care about how this story will be presented on screen and we want to know if the director will pay attention to the characters. Personally, I wrote this book, but the contacts I had with SEAN were irresistible, he paid all his attention to the secondary characters and the facets of the story especially in terms of the casting, it was very light. © Photography by Anh Viet Chau 2

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TRE PIANI

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BERGMAN ISLAND

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MIA HANSEN-LOVE DIRECTOR How did this film click? I believe above all it is to make a film which tries to seize creation within a couple of inspiration, which helps to understand how it works, it has always seemed miraculous to me to manage writing films and making them. I have always believed myself to be very fragile, very vulnerable, yet I have made films and for a moment I thought that it might be important for me to understand why, despite this fragility, there was something that allowed me to move forward, to write, so that was the starting point, but I think the film took shape for me when I thought of FARÖ as a possible setting for this story.

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TIM ROTH

Before filming, for me BERGMAN is a director whose films I saw when I started my acting career. I was with a group of friends in LONDON, we were very cool people, we saw films of brilliant directors, in any case we were touched by these films and I remember seeing BERGMAN’s films and being marked by the landscapes, the performances of the actors, by the cinematography, by the stories themselves, from there, I moved forward. When this project arrived, this bizarre journey presented itself and I was sent this story, I found it extraordinary and magical.

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VICKY KRIEPS

I knew BERGMAN from the cinema in Luxembourg. I didn’t know him very well because the women in his films scared me. At the time, I was young, it’s a little too disturbing by the way. When Mia sent me the script, the approach was so natural that I didn’t even think twice, I even thought it’s not a good idea to review his films, I preferred to do the opposite without anything and learn nothing more about this great Master of cinema, this great ghost. © Photography by Anh Viet Chau GF&B MAGAZINE | Issue 5

THE FRENCH DISPATCH

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GHAHREMAN

AMIR JADIDI ACTOR We had extremely extensive rehearsals. Indeed, playing a simple innocent character so that his simplicity is not bad and proves that he has his own intelligence, his own finesse, we have tried in our work to embody him even through a certain approach, a way of walking for example could have given him a clumsy aspect so it had to be avoided, the same for the accent of Shiraz. Not only did I have to work on my intonation, my text, but the Shiraz accent was a bit of an issue and an additional weight. I had to focus on the character’s way of speaking, his mode of expression, in addition this accent added difficulty to the role.

ASGHAR FARHADI DIRECTOR My usual way of working was more extensive since we were working in the midst of a pandemic. All the extra time we had was devoted to script development and rehearsals, so Covid was an asset for us since we had 1 more year to prepare. If I have to talk more specifically about the rehearsals, I would say that it was much more consistent. I would have liked the other members of the team to be present. The other extraordinary actors who all appeared in front of my camera for the first time, for the most part are all from the city of Shiraz, I told them that it was a question of working with men and women, people from extremely simple, even innovative everyday. I myself realized that it is more difficult to interpret a simple character, between simplicity and simplism, a certain extremely attenuated naivety, on this I worked a lot with them. If these characters were a little more complex, had dark sides, if they had been used to being confronted with more complex situations they would not have been in the situation where they are in the film, in the rehearsals we have done extensively, I myself was very impressed with the energy that Amir put into his work, he is right when he says: That he behaved like a man in love, he was completely enthusiastic about this collaboration, which has become an almost frightening memory for me because I wonder if this energy could be reproduced a second time with another team?.

Regarding my popular films in Israel, viewers who come to see a film do not need to show their passports, to say if they are a man, a woman, what nationality they are, they become a single united body with me, I feel like it’s only one person watching the movie when I have 700 viewers. This is one of the great qualities of cinema , where everyone can establish a link with a film, fortunately these borders do not exist in art. When I see a beautiful statue in Italy, I don’t ask which country or which culture or which ideology the artist belonged to, I admire his work. © Photography by Anh Viet Chau JUIN 2021

COW

DOCUMENTARY FILM

BY ANDREA ARNOLD

In fact, today is officially Cow Appreciation Day. I wanted to tell you.

I had to write something, it’s hard to explain, I wanted to write an introduction first, it’s very interesting for me, because I thought to myself why did I start thinking about that idea ? And it reminded me of my connection with nature when I was a child, that’s the starting point of my film. I had a very free relationship with nature, I had extremely young parents who were not present, I grew up in a place full of nature all around, I ran in the fields all day and I therefore created this great bond with nature which is very strong. Growing up, I moved to a city, I felt the lack of that nature. In this film, I wanted to recreate this distant link with nature. 8 years ago the idea germinated in my head and the shooting 4 years ago.

Of all the films, when you start, you have a very pure idea in your head and then little by little you have to face the reality of things and the idea changes. I tried to respect this movement, I did that with all my feature films with surprises and strangers. I like to evolve things from what exists on the set.

My film is rather quite soft and not brilliant, I thought to myself: Cannes is a magical place to show this film for the first time. I am grateful to be here. It’s weird to go from confinement to Cannes by the way.

I would point out that it’s hard to work on a cow, it’s extremely complicated in feature film, so 3 editors were needed for all the work. © Photography by Anh Viet Chau

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HA’BERECH / AHED’S KNEE

NADAV LAPID DIRECTOR

Hello, I’m going to tell you about Ahed TAMIMI, she’s a young Palestinian woman she belongs to an activist family, she is an activist herself, who is known thanks to her resistance to the Israeli occupation . We have iconic images of this person who appears in the film. In a way, I don’t know if everyone thinks like me? I am not directly involved in the political life of my country, but in fact Ahed TAMIMI in existential terms, in political terms, she is very symbolic, so I wanted to talk about her as a director, it also helps to situate the plot which is located in a state called ISRAEL where there are young Palestinians who land in prison and all their families suffer from it, there are many wounded. LATESSE MOTRIC one of the Ministers very satisfied with himself had announced: «that in fact, she should have been shot in the knees». It is thus a beginning for the film and it is there the intrigue, the story will unfold, these are the rules of the game.

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AFSHALAM You dive into this character, it feels like it was actually your double.

NADAV LAPID designed this film, he wrote the screenplay, obviously there is an autobiographical side to the character that I represent, but I also had to tap into myself to play this character. I took a bit of the ingredients here and there, from the world I’m in Navav’s world is a lot in the film obviously, we had to create something that really reflected on the character, we didn’t not just imitate. © Photography by Anh Viet Chau GF&B MAGAZINE | Issue 5

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JFK REVISITED

OLIVER STONE DIRECTOR

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BAC NORD

CEDRIC JIMENEZ DIRECTOR We’ll have to go see BAC SUD, we’ll do number two soon, (laughs).

Once again, it is a fiction that we have nevertheless adapted to reality. KENZA is a character that is adapted from several characters and does not exist in reality as such. There were several indications obviously I synthesized a name.

I gathered some anecdotes because indeed we work with indications, we are obliged to have an eye on a certain sector, but this character does not exist. Inevitably, she will have some problems, we know that people who work with the police in general are not very popular on the other side. What interests me is the trajectory of Antoine François who is forced to make a horrible choice to betray the character of KENZA in order to be able to save the character who is in detention, it was above all that.

I am happy to present my film at the Cannes Film Festival.

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GIL LELOUCHE I still remember a version where she was hanging from a tree, we said, maybe a little hardcore, take it easy with the end.

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ALINE

VALERIE LEMERCIER Celine DION is someone I admire a lot, who never bores me whatever you see her at all ages, she is always fun, interesting, she does shows, she is captivating.

Céline has not seen the film. I’ll be her, I don’t know if I’ll rush either, because she lost her loved ones, I think she’s a person who is moving forward, she is obliged to hold on, so she knows she can see it when she wants and where she wants. I haven’t met her, but I hope she will see the care that we have all taken in this film to highlight this character.

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THE INNOCENTS

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PAR UN DEMI CLAIR MATIN

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MEMORIA

APICHATPONG DIRECTOR I feel like we give a lot of importance to our memories, we keep Diaries, etc...

But at the same time there is a collective memory that I would like to express not only for the people, but for the mountains, the plants the insects, everyone living, the vibrations in the mountains, it is something that corresponds to us communicate, we are part of a single memory.

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TILDA SWINTON Working with ALMOVODAR is a great privilege that I have experienced, it was a great journey and the people who inhabit his journey are not like me in general. Cinema is something that has no borders that exists in itself and I would even say that has no sense of a geographical culture. So I can work with ALMOVODAR, JIM JARMUSCH, APICHATPONG, BELA TARR. It is a country that I love, I am at home in the world of cinema without any reference to anything national.

Every film differs from the others, each director is different in the production there are also differences in the particular atmospheres in this landscape of APICHATPONG we also find this wonderful team of young directors. The Colombian landscapes are wonderful. If you have not been to Colombia you will be able to see these landscapes in this film which has a resonance and a spirit that seems to really correspond to these people who live there. He called me to tell me, the country we are looking for is Colombia.

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RED ROCKET

SEAN BAKER : DIRECTOR I really liked the coast, we found in Texas, an industrial city with a large population. With one of my producers Alex Coco, we traveled to Texas by car, we didn’t know where we were going to shoot, we went to CORPUS CHRISTI in the south which we loved, but we wanted to see the whole coast so we went north and we got to Texas City, there we realized we had found the right place for the movie, the locals call themselves real authentic Americans. This is a city that will never die, because in this city there have been several disasters, and it was not just Texas City, it was (GALVESTONE) all the surroundings were perfect, for me, this area has an extremely rich history. That’s why I cast it, it was sort of a perfect marriage ideal Texas City and the surrounding area became a real character in the movie. Alex Coco helped me a lot during post-production. Maybe 85% is improvisation and 15% the script. I was very lucky to shoot with wonderful actors who really know how to improvise, they are real geniuses improvising comedy is even more difficult than the rest. Not to mention when shooting in the most authentic place.

SIMON REX A dance between documentary and fiction. Sean BAKER helped us a lot, we shot this film fairly quickly, we didn’t have a lot of leeway, but he allowed us a lot of improvisation, which is rare in this type of film and with some directors where the magic in the film, we react, we respond in a very spontaneous way. Finally, there was a lot of improvisation in the film.

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OSS 117 : ALERTE ROUGE EN AFRIQUE NOIRE

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LES OLYMPIADES

JACQUES AUDIARD

DIRECTOR, SCREENWRITER, PRODUCER Adapting a comic book presents specific problems. What was hard is to mix the 3 stories. Afterwards, it was fun to choose characters who are young people, young adults who are on average 30 years old and over, with Bac plus diplomas… They are both unemployed, struggling to find housing, that interested me to deal with this young middle class is cultured, but struggling. I chose the 13th arrondissement because I know it well. It turns out that it is the district of Paris that has changed the most in the last 10, 15 years there is like an urban plan, an architecture between the banks of the Seine and the Place d’Italie in the middle , there is this insane slab called the OLYMPIADES which is magnificent.

LEA MYSIUS CO-SCREENWRITER We adapted the characters so that they are movie characters and not graphic novels, especially the ones located in Paris in the 13th arrondissement, that’s the biggest job. We worked from the version that already existed. At the time, it wasn’t in Paris, it was a bit theatrical, we tried to find other characters (Camille was totally invented, in particular ), then the big job is to cross all the stories because in this version everything was separate and I was present during all the rehearsals, it was important to rewrite what the actors were improvising. © Photography by Anh Viet Chau 2

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JEHNNY BETH

Noémie and I took our tests during the 1st confinement which was appropriate because our characters speak to each other by computer, so we did all our tests this way, after we met Jacques, the 1st thing that we said: Suggest something and call me when you’re ready so we freaked out, but we worked something out thinking about the image of the movie. He asked us to come up with things that come from our imagination, even dialogue ideas that weren’t in the film. We had a lot of help from the choreographers, the artistic direction, costumes, we were very surrounded. I learned personally that a character is made up of several people, that’s what gives depth. © Photography by Anh Viet Chau GF&B MAGAZINE | Issue 5

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NOEMIE MERLANT At the beginning, I had trouble finding the character to propose to Jacques because I had this depression from the 1st confinement, despite everything it had to be lively, funny at the same time, I have never been ultra connected with a character. I find us all very combative despite this loneliness, we try to connect to ourselves, to others, to this world that is going super fast. It’s a quest to find our desire, personally, it spoke to me right away. There was a lot of work between us especially with a coach choreographer, I thought it was great, I’ve never done that before. We entered the character first through the body, we only speak with gestures, how do we touch each other? We say a lot of things just with our bodies, it was an important moment. With Jacques we did a lot of rehearsals, I reconciled with these rehearsals because I found it annoying, but with Jacques, it’s the opposite, we had a lot of fun, it’s a game that is set up. We could have accidents, it was in this phase that we looked for all these details of accidental life, clumsiness, cracks, vibrations of shivers. With the team, we had the chance to do an entire run of the film in a theater the whole team, the actors, the little ones, we had a vision of the film, the whole story, the narrative of everyone because we don’t necessarily meet. It’s very valuable for an actor to see that before shooting, because usually we never shoot in order and it allows us to really connect with the character. © Photography by Anh Viet Chau 2 37

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LUCIE ZHANG

We met thanks to the Director who distributes roles. The first time we met, we started working. From start to finish, the relationship, whether during filming or afterwards, Jacques left me a lot of freedom so that I could have the space to create imagination, it always remained ambiguous. I don’t know if he does it on purpose. 3 months of rehearsal for my character (Emilie), I had a lot of trouble, existential crises and heartbreak because she is a character who is completely the opposite of my personality and my character. © Photography by Anh Viet Chau

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BENEDETTA

PAUL VERHOEVEN DIRECTOR A Dutch screenwriter gave me the book and we liked it a lot, we said to ourselves: there is material to make a film. I read this book I was so surprised to see what happened in the 16th century or 1599 in PESCIA in Italy. It was a story between two wives of nuns in a convent so the atmosphere is very religious. At the time, the Catholic religion prevailed. The filming was very pleasant, magnificent, warm at all levels.

VIRGINIE EFIRA What was wonderful with Paul, I benefited from it like all the actors and all the trades on this shoot, it is the absolute confidence, he has in the work of the other and in the proposals what we can do to him.

The thing that was joyful for me was to say, I can think what I want and he can film what he wants. The trajectory that interested me is the one that also interested Paul, it was the idea that BENEDETTTA doesn’t lie, finally, I’m not sure that the great manipulators are aware of their own pathologies, I really like the power of belief, when you believe it exists. In the end, what makes it stand up is the possession, it is the belief that she has of it and this intimate bond, this beauty, this total conviction that has guided her. © Photography by Anh Viet Chau 2

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SAID BEN SAID PRODUCER It’s a blockbuster and at the same time a very obvious experimental film, is also a very mysterious, very enigmatic, very strange film in many ways, moreover, it’s surprising, the spectators were divided after the screening, I don’t understand because it was only a highly anticipated and desired movie, but because it’s a pretty destabilizing movie. The reason for this in my opinion, although I lack perspective on the film, I believe it is due to the irony that runs through the entire filmography of VERHOEVEN, this irony is more than the film’s length, it is almost a central theme of all his work, irony in the sense that one could say: the irony of fate, for example. So in my opinion when Lambert WILLSON says to BENEDETTA at the end: Until the end, you will have lied to me. This shot has to be filmed and obviously has to be understood in a number of ways. I would also really like to underline the great complicity that Paul has with David BIRKE on this level, I suppose as they say, mayonnaise takes perfectly between the two, BEURK brings a lot to Paul in this area. I would like to pay tribute to him because he is very modest and immensely talented. © Photography by Anh Viet Chau GF&B MAGAZINE | Issue 5

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DAPHNE PATAKIA

Even before reading the script, I said yes because it’s Paul. I had seen these films and I greatly admired his work. By reading the script, I remember the first reading, I said to myself: There is no scene that is normal, it is impossible. I was not afraid of anything, because with Paul everything was clear from the start, even the scary love scenes, it was so incredible. He had told me about these scenes during the artistic distribution at our first meeting so I knew how they were going to be filmed. With Virginie, we get along well and are very comfortable. Maybe a little scared since Paul didn’t talk much. I went to see ELLE press conference to get some hints on how he was going to work. I remember hearing Paul say: Shooting is a democratic process, it asks everyone’s opinion and it empowers us.

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AFELESEGEM TÖRTENETE

MY WIFE’S STORY

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ILDIKO ENYEDI DIRECTOR The way this film works, we prepare it, we approach it in a different way and there, we really had to open up to each other and create a certain alliance between us.

The difference between these two main roles was a very different challenge for Rais and Léa. We did rehearsals, we debated a lot among ourselves, but part of the preparation was done on the sidelines because throughout this film the spectators wanted to enter his point of view, the same thing for the main actor, so it’s an extremely delicate, subtle role, a very delicate performance, you mustn’t become a fatal woman, you mustn’t become mysterious, but be a person in her own right, someone you want to discover and that we only find out at the end of the film.

Most of my films except the last one which was financed 100% in Hungary, was a fully Hungarian film. I never felt like a Hungarian director. All these questions that interest me are more fundamental, they have their roots in my culture and my culture is also European. This novel takes up certain clichés which it plays marvelously well. I followed this novel. The film cost 10 million euros I must mention my partners who played an extraordinary role in France,Germany and Italy without whom we could not have produced this film we lived like a family, because it was a long trip. We worked hand in hand to move forward and I thank the whole team, it was an exceptional experience to see the level of cooperation between all its partners who worked hand in hand it allowed us to move forward a lot faster in addition to filmmaking, I teach in a film school and one of my students is preparing a film for his diploma, he is a generous student, he agreed to work on this film for free.

MONICA I have to talk about LÉA, it was very nice to work with her, I think she had a great time with us during the shoot and I’m really sorry for her absence she tested positive although she was vaccinated and she couldn’t come, we miss her a lot. © Photography by Anh Viet Chau 2

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GIJS NABER Yeah I miss her a lot too absolutely, it was a pleasure to work with her. As ILDIKO said, It was a personal journey with her even if we don’t know each other, we have to take into account this emotional story which linked us and I am extremely sad for her absence.

ILDIKO decided in pre-production to trust me for this film, but of course at first it was a bit uncomfortable. The ship was going in a certain direction then it changed direction, I felt like the Captain on board. We talked about the characters, personal thoughts, things revolving around life,love, everything that connects people, we had many rehearsals with LÉA throughout the filming, we stayed in touch © Photography by Anh Viet Chau GF&B MAGAZINE | Issue 5

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VERDENS VERSTE MENNESKE

HERBERT NORDUM ACTOR

He gave me the line when it was necessary, he looked me in the eyes and he said to me: What happened? Everything was targeted, I had the feeling that it was really very pleasant to work like this and to focus on every detail. I thought to myself, this is really high quality.

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THE JURY UN CERTAIN REGARD

ELSA ZYLBERSTEIN ANDREA ARNOLD MOUNIA MEDDOUR

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PETROV’S FLU

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DRIVE MY CAR

RYÛSUKE HAMAGUCHI DIRECTOR

Thank you for coming to this press conference. The first time I read (Drive my car) was in 2013, it was an acquaintance who suggested it to me, telling me that I would probably like it. There were indeed elements that were familiar to me, like the dramatic art of playing, then as the title suggests (Drive my car) the vehicle. I believe that the habitat of the car is conducive to conversations, I myself had a personal experience that I had already explored in other films. I think that in this film Kafuku and Misaki in this closed habitat which is the car find each other, then their relationship develops, I think that the intimacy also increases. This relationship already existed in the original short story, I think the heart of this film is in the car, it is something very important obviously to direct it precisely. Initially, Kafuku and Misaki in the short story are already sitting next to each other from the start, but I wanted their relationship to evolve and that it shows. It had to be something very special the first time they met obviously. As for Takasuki, he is an external element, an intruder, there is somewhere a relationship of confrontation.

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HYTTI NRO 6

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Glamour Fashion And Beauty - Economic, cultural, scientific and social magazine Published in three languages: English, Arabic and French Special edition - Festival de Cannes - January 2022

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