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Cannes
Tue, May 14, 2024 – Sat, May 25, 2024 Cannes Festival News and Dailies I Cannes Market Dailies I Les Dailies du Festival I Les News du Marché
2023 Full coverage I 2022 Full coverage Festival / Market I 2021 Full coverage / Sample of newsletters ARCHIVES: Video gallery I Image gallery I Conference Future of Cinema in Cannes I PROMOTE YOUR FILM I VIDEO SERVICES IN CANNES Filmfestivals.com has become the number 1 online media on cannes with 1300 articles published for the 3 past editions. 10 newsletters reaching close to 2 M film professionals...Céline Sciamma's "Portrait of a Lady on Fire" a top contender for Palme d'Or
It is exciting to note that Céline Sciamma, one of the founders of the French 50/50 by 2020 and her new film Portrait De La Jeune Fille En Feu ("Portrait Of A Lady On Fire") is one of the top contenders for the Palme d’Or, as she climbs the steps in Cannes after Water Lilies (2007) in Un Certain Regard. Sciamma is one of two women part of the official selection this year of 20 films. Her film is a period piece from 1770 about young artist Marianne (Noémie Merlant) who is commissioned to paint the wedding portrait of Héloïse ( (Adèle Haenel) without her knowledge, a woman just out of a convent betrothed to someone she's never met. Sciamma's has created a beautiful homage to forgotten women artists. Turning away artists is Héloïse’s talent because she has no intentions of marrying. She's not successful with Marianne and becomes interested in the world she has missed in the convent. Sciamma's film has raised questions about a "female gaze" in a process involving how the camera sees, how actors see each other and how spectators see film. Those without a foundation in Laura Mulvey's 1975 classic essay in feminist film theory "Visual Pleasure and Narrative Cinema" published in Screen (1975) should have a look. Mulvey's treatise is not just a simple matter about if a male director has a "male gaze" - or a female filmmaker - a "female gaze". She explores how 'gaze' is embedded in film language , in complex viewing processes in operation even before the film is made. She deconstructs the "gaze" to illustrate how the imaginary is represented in film. Sciammi's film brings up the political question about a gendered hierachy involved in the kinds of films that are made, how they are made, and who gets to make them. Hulu has already bought the film for streaming, meeting the critieria for French distributors that the film must premiere on screen first before it can be released, not on streaming. Filmfestivals.com FIPRESCI 23.05.2019 | Cannes's blog Cat. :
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