By Mónica Delgado

I will start with a phrase that is often repeated in this season of Cannes: “this film should’ve been in the official competition”. And it’s that, Bruno Dumont’s Jeanna not only makes an incredible diptych with his last Jeannette, l’enfance de Jeanne d’Arc , but, despite its minimalism and the theatrical diction that unites them, in this new film there’s a more political intention, less mystic, the one of the child Joan of Arc, confronted against the church and the factual powers in XV century France.