{"id":1102,"date":"2011-05-23T13:41:53","date_gmt":"2011-05-23T12:41:53","guid":{"rendered":"http:\/\/olivierpere.wordpress.com\/?p=1102"},"modified":"2013-08-02T19:50:45","modified_gmt":"2013-08-02T18:50:45","slug":"cannes-2011-day-8","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2011\/05\/23\/cannes-2011-day-8\/","title":{"rendered":"Cannes 2011 Day 8"},"content":{"rendered":"<p><span style=\"font-family: arial;font-size: 10pt\">Ma derni\u00e8re journ\u00e9e \u00e0 Cannes. Je n\u2019aurai pas vu les deux films monuments que j\u2019attendais le plus, <em>The Tree of Life<\/em> de Terrence Malick et <em>Melancholia <\/em>de Lars Von Trier, encore un peu de patience pour d\u00e9couvrir ces chefs-d\u2019\u0153uvre annonc\u00e9s. Apr\u00e8s de nombreux rendez-vous j\u2019assiste \u00e0 la projection presse de <em>Drive<\/em> (photo en t\u00eate de texte) de Nicolas Winding Refn. C\u2019est sans doute la seule v\u00e9ritable surprise de cette s\u00e9lection officielle et un formidable moment de cin\u00e9ma, entre r\u00e9f\u00e9rences au film noir moderne (<em>Driver <\/em>de Walter Hill, <em>Thief <\/em>de Michael Mann, <em>Police f\u00e9d\u00e9rale, Los Angeles<\/em> de William Friedkin), influence zen du cin\u00e9ma japonais z\u00e9br\u00e9e d\u2019\u00e9clairs de violence et de geysers de sang comme dans les films de samoura\u00efs, et sid\u00e9ration plastique qui pourrait rapprocher <em>Drive <\/em>du pop art \u00e0 la mani\u00e8re des derniers Tarantino (le film exhibe une photographie et une mise en sc\u00e8ne \u00e0 couper le souffle.) Ryan Gosling, en h\u00e9ros mutique, est g\u00e9nial. <em>Drive<\/em> est aussi un tr\u00e8s beau po\u00e8me urbain qui sublime Los Angeles. Je quitte donc Cannes avec des images splendides dans la t\u00eate, et le souvenir de mes derni\u00e8res rencontres \u00e0 la terrasse de l\u2019h\u00f4tel Marriott\u00a0: rien de moins que les plus grands cin\u00e9astes cor\u00e9ens vivants r\u00e9unis autour d\u2019un verre, avec les responsables de la Kofic et deux amis du cin\u00e9ma cor\u00e9en, la cin\u00e9aste Claire Denis et le directeur de la programmation de la Cin\u00e9math\u00e8que fran\u00e7aise Jean-Fran\u00e7ois Rauger. Il y a Lee Chang-dong, parrain de la Semaine de la critique, Kim Ki-duk qui a un nouveau film pr\u00e9sent\u00e9 \u00e0 UCR, Hong Sangsoo qui pr\u00e9sente lui aussi dans la m\u00eame section son nouveau (et excellent comme d\u2019habitude) film <em>The Day he Arrives<\/em>, enfin Bong Joon-ho pr\u00e9sident de la Cam\u00e9ra d\u2019or. Je connais Sangsoo pour avoir pr\u00e9sent\u00e9 <em>Les Femmes de mes amis<\/em> (<em>Like You Know it All<\/em>) \u00e0 la Quinzaine des r\u00e9alisateurs en 2009. Nous nous \u00e9tions depuis revu \u00e0 S\u00e9oul et d\u00een\u00e9 \u00e0 Paris lors de son r\u00e9cent passage dans la capitale o\u00f9 la Cin\u00e9math\u00e8que fran\u00e7aise lui rendait un hommage m\u00e9rit\u00e9 avec la projection de tous ses films. Bong Joon-ho est devenu en quelques ann\u00e9es et trois longs m\u00e9trages (<em>Memories of Murder<\/em>, <em>The Host<\/em> et <em>Mother<\/em>) un des plus passionnants cin\u00e9astes du cin\u00e9ma contemporain mondial. Grand admirateur de <em>Memories of Murder<\/em> (thriller vertigineux qui le r\u00e9v\u00e9la sur la sc\u00e8ne internationale), j\u2019avais eu le grand honneur de pr\u00e9senter son chef-d\u2019oeuvre <em>The Host<\/em> \u00e0 la Quinzaine des r\u00e9alisateurs en 2006, un des plus grands succ\u00e8s de l\u2019histoire de la section ind\u00e9pendante de Cannes (mais aussi de l\u2019histoire du cin\u00e9ma cor\u00e9en) et un de mes meilleurs souvenirs de d\u00e9l\u00e9gu\u00e9 g\u00e9n\u00e9ral et de spectateur. C\u2019\u00e9tait formidable de retrouver Joon-ho autour d\u2019un verre et de discuter avec lui de son prochain film, qui s\u2019annonce comme un des projets les plus excitants de la d\u00e9cennie\u00a0: une adaptation de la bande dessin\u00e9e fran\u00e7aise de science-fiction <em>Le Transperceneige<\/em>, dans laquelle ce qui reste de l\u2019humanit\u00e9 traverse des espaces glac\u00e9s et d\u00e9sertiques dans un long train qui ne s\u2019arr\u00eate jamais. Le tournage d\u00e9bute bient\u00f4t, avec une distribution internationale. On a h\u00e2te de voir cela.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ma derni\u00e8re journ\u00e9e \u00e0 Cannes. Je n\u2019aurai pas vu les deux films monuments que j\u2019attendais le plus, The Tree of\u2026<\/p>\n","protected":false},"author":116,"featured_media":10503,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[3],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Cannes 2011 Day 8 - Olivier P\u00e8re<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arte.tv\/sites\/olivierpere\/2011\/05\/23\/cannes-2011-day-8\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cannes 2011 Day 8 - Olivier P\u00e8re\" \/>\n<meta property=\"og:description\" content=\"Ma derni\u00e8re journ\u00e9e \u00e0 Cannes. 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