Well obliged. This year, Cannes combines with the imperfect. The Croisette invites itself on the small screen. This bath of youth will dispense with the rise of steps. On Arte there is the magnificent Love Fault(2017) by Andreï Zviaguintsev, portrait of Russia today which contains one of the saddest scenes in the world. Michael Haneke's White Ribbon won the gold in 2009 and it was only fair. This news item in black and white with Germany as a background in 1913 rose to the level of tragedy. The same cannot be said of Happy End (2017), a laborious exercise recapitulating all of the author's tics.
There is food and drink. It is the law of its kind. The Immigrant (2013) is certainly not the best James Gray, but it is the festival's merit to follow certain directors against all odds. It was on the shores of the Mediterranean that the world discovered Spike Lee with Do the Right Thing (1989), staging racial tensions and a riot in Brooklyn. Paterson (2016)
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