Palme d’Or 2008 for his film Between the wallsfilmmaker Laurent Cantet died Thursday April 25 at the age of 63, his producer confirmed to Monde. “He died this morning in Paris of illness”informed his agent, Isabelle de La Patellière, to Agence France-Presse.
A discreet director with an assumed social fiber, Laurent Cantet made Cannes history in 2008 by receiving the Palme d’Or for Between the walls, awarded by a jury chaired by Sean Penn. Half-documentary, half-fiction, this film with a budget of 2.4 million euros features a French teacher, François Bégaudeau (author of the eponymous novel on which it is inspired), and students aged 13 to 15 years old, with multiple geographical and social origins, in a Parisian college.
The Cannes Festival immediately reacted, saluting the memory of a “fierce humanist, who sought light despite social violence, who found hope despite the harshness of reality”. A filmmaker and screenwriter “whose coherent and humanist work creates a sensitive cinema, on the surface of the skin and on the surface of society”adds the Festival, which describes Between the walls as a movie “with disconcerting naturalism”. “A fine filmmaker, discreet and full of humanity, in no way dazzled by his Palme d’Or, Laurent Cantet achieved with precision and a sense of rhythm what is most difficult in cinema: filming conversations, that is -say life »greeted the former president of the Cannes Festival, Gilles Jacob.
A film project for 2025
Son of teachers, Laurent Cantet was the heir to the culture of his parents, “people engaged in a certain number of causes, among whom secular and republican morality was very embodied”. Another family was formed during his studies at Idhec, the ancestor of Fémis, with a clan of comrades, to the point of founding with them a production company, Sérénade.
Intended according to him to describe the world and its complexity, the first four feature films by Laurent Cantet display great coherence. Confrontation between a worker father and his son promoted to HR at the time of the application of the 35-hour week in a factory (Human ressources) ; lies of a fired man who invents a job at the UN and murders his family so as not to have to reveal his imposture to them (The timetable, inspired by the Jean-Claude Romand affair); Mature women vacation in Haiti who pay local sex workers (To the south) ; chronicle of the life of a college which appears as a sounding board for national turbulence, raising questions of power, inequality of opportunity, social and cultural integration, undocumented immigrants (Between the walls). Each time it involves filming the work: workers/managers, business consultant/unemployed, sex work, teachers/students and the director’s office experienced like a Guantanamo.
Subsequently, he will tell the story of five young girls who form a gang to be able to fight against machismo and the control of men over women (Foxfire), that of a return to Havana after sixteen years of exile in Spain (Return to Ithaca), that of a well-known Parisian novelist who runs a writing workshop in La Ciotat with a group of young people in integration (L’Atelier), or that of a young writer who publishes his first novel while his old homophobic and anti-Semitic comments appear on the Internet (Arthur Rambo). The director was working on a film project, titled The Apprenticewhich was due to be released in 2025.
Read also | Article reserved for our subscribers Laurent Cantet, filmmaker: “Showing a film to young people is a political act”
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Laurent Cantet, Palme d’or 2008 with “Entre les Murs”, is dead
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Benalal: Festivals are a way to introduce films
Hespress – Manal LotfyFriday, May 3, 2024 – 06:14
Moroccan director Mehdi Benalal said that festivals are not only useful, but they are very necessary because they are a means of introducing films that are not shown on the big screen, and also those that are shown in a secret way by which the festivals become known and take care of bringing them out of oblivion.
Benalal highlighted that in light of the confrontation with cinematic productions that are full of massive production methods coming from the United States of America, any means or forum for promoting, promoting and introducing national cinema and independent cinema “is a very important issue and its role should be emphasized.”
The Moroccan director revealed, in an interview on the sidelines of the Mediterranean Film Festival in Tetouan, that “any filmmaker worthy of this title must guarantee his independence and strive to preserve it,” noting that “this is achieved by criticizing the accepted traditional forms and taking a distance.” A critique of the dominant ideologies that impose their logic within mass productions.”
He added, “Independent cinema worthy of this description is, first and foremost, cinema created by a group of people who think and take precautions and do not be led away, but also struggle with themselves, far from being simplistic and swayed by what is trendy and prevailing.”
Benalal stated that as a director, he considers himself a viewer all the time before he becomes a cinematographer, and that he does not abandon this perception because, in his view, this vision is what enables him to bring up the issue of the audience in the various works that any other director creates.
The Moroccan director pointed out that “Eric Homer was inclined to sudden accidents, coincidences, and secrets, but he contributed greatly to modernizing cinema without abandoning simplicity in artistic treatment, with a clear keenness to remain very close to the characters,” concluding that “every film One of his films is a full-fledged cinematic lesson, and it is also a lesson in psychology and the deception of characters.”
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#Benalal #Festivals #introduce #films
2024-05-05 20:04:00
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