Arnaud Desplechin

Arnaud Desplechin

Cannes

CANNES 2022: BROTHER AND SISTER BY ARNAUD DESPLECHIN

By Monica Delgado

With more than a dozen films to his credit, Arnaud Desplechin has made it clear at Cannes 2022 that his desire to make movies is going through a bad time. What he captures in Frère et soeur (Brother and sister) shows wear and tear, but also perhaps the decision not to develop what the film suggests, advances or outlines, leaving between the lines as a practical exercise for the viewer.

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Cannes

CANNES 2022: BROTHER AND SISTER DE ARNAUD DESPLECHIN

Por Mónica Delgado

Con más de una docena de films en su haber, Arnaud Desplechin ha dejado en claro en Cannes 2022 que sus ganas de hacer cine están pasando por un mal momento. Aquello que plasma en Frère et soeur (Brother and sister) muestra un desgaste, pero también quizás la decisión de no desarrollar lo que el film sugiere, adelanta o perfila, dejando las entrelíneas como ejercicio práctico del espectador.

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Cannes

CANNES 2019: DOLAN, DESPLECHIN, DARDENNE

By Mónica Delgado

Again, a new film by Xavier Dolan confirms the unexplainable side of Cannes. Shot in 35mm, Mathias et Maxime is an example of a film without a course, despite the usual motifs of the Dolan trademark, which continue to give him the fame of enfant terrible (even given his current age): hysteria in the family unit, women in constant ebullition, or romantic stories of homosexuality. A sweetened, insufferable gay love story.

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Cannes

CANNES 2019: DOLAN, DESPLECHIN, DARDENNE

Por Mónica Delgado

Nuevamente un film de Xavier Dolan en competencia oficial que confirma la vigencia del lado inexplicable de Cannes. Rodada en 35 mm, Matthias et Maxime es ejemplo de un cine sin rumbo, pese a los acostumbrados motivos de la marca Dolan y que le siguen dando fama de enfant terrible: histeria de la intimidad familiar, mujeres en constante ebullición, o historias románticas de homosexualidad. Una historia de amor gay edulcorada e insufrible.

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Cannes

CANNES 2017: ISMAEL’S GHOSTS BY ARNAUD DESPLECHIN

By Mónica Delgado

Opening Cannes with an Arnaud Desplechin film was an outstanding debt, especially because two years ago, his film Trois souveniers de ma jeunesse was presented in the Quinzaine of Realisateurs and ignored by the official selection, an act which was seen as a disservice to one of the most ludic and talented filmmakers of France.

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Cannes

CANNES 2015: BALANCE

Por Mónica Delgado

Cannes es Cannes hasta el día mismo de la entrega de su Palmarés. Hace tiempo que este festival no hilvana algún tipo de coherencia entre la premiación y la calidad misma de los filmes presentados a lo largo de doce días

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