Directors Fortnight, the parallel, usually more innovative section of the Festival de Cannes, is dominated this year by French cinema. Twelve of the 22 films are either French pictures or co-productions, including Claire Simon’s “Les Bureaux de Dieu” and Josh Safdie’s “The Pleasure of Being Robbed.”
Celebrating its 40th anniversary, Directors Fortnight opens with Four Nights With Anna, the comeback of vet Polish auteur Jerzy Skolimowski. There is also a good showing from Spain and Latin America, with five films, but the U.S. presence is low, basically one, “Pleasure,” which closes the section, compared with five last year. The section bows May 15, one day after the main festival, and runs through May 25.
There are few high-profile directors. Like the Official Selection and Critics’ Week, the section focuses on rising talent, with strong emphasis on European cinema.
Directos Fortnight Program
Four Nights With Anna, France-Poland, Jerzy Skolimowski (opening night)
“The Pleasure of Being Robbed,” U.S., Josh Safdie (closing night)
Acne, Uruguay-Spain-Argentina-Mexico, Federico Veiroj
“Aquele querido mes de agosto,” Portugal-France, Miguel Gomes
Boogie, Romania, Radu Muntean
Les Bureaux de Dieu, France, Claire Simon
El Cant dels ocells, Spain, Albert Serra
“De la guerre,” France, Bertrand Bonello
“Le Dernier Maquis,” France-Algeria, Rabah Ameur-Zaimeche
“Eldorado,” Belgium-France, Bouli Lanners
“Eleve libre,” Belgium-France, Joachim Lafosse
“Liverpool,” Argentina-France-Netherlands-Spain-Germany, Lisandro Alonso
“Monsieur Morimoto,” France, Nicola Sornaga
“Knitting,” China, Yin Lichuan
“Now Showing,” Philippines-France, Raya Martin
Il Resto della notte, Italy, Francesco Munzi
“Salamandra,” Argentina-France-Germany, Pablo Aguero
“Shultes,” Russia, Bakur Bakuradze
“Blind Loves,” Slovakia, Juraj Lehotsky
“Lonely Tune of Tehran,” Iran, Saman Salour
Tony Manero, Chile-Brazil, Pablo Larrain
“Le Voyage aux Pyrenees,” France, Jean-Marie Larrieu, Arnaud Larrieu