As reported here last week, Mia Hansen-Løve‘s “One Fine Morning” was announced as being part of the 54th edition of La Quinzaine Des Realisateurs — Director’s Fortnight.
Pietro Marcello’s “Scarlet” is the opening night film. The Italian director is coming off 2019’s critically-acclaimed Venice competition entry “Martin Eden.”
I have been hearing great things about Lea Mysius’ “The Five Devils,” which just came a hair from cracking the official competition at Cannes.
Another title to look out for is Mark Jenkin’s “Enys Man,” the UK filmmaker made some major waves in his home country with 2019’s black and white shot “Bait” — a sort of retro kitchen sink exercise, it earned raves upon its release.
Alice Winocour seems to have again been denied a spot in Cannes’ official competition. If you remember, “Proxima” was rejected by both Cannes and Venice in 2019, but ended up getting very strong reviews at TIFF. She’s been selected by Fortnight for her latest film, this one titled “Paris Memories.”
There are two A24 titles in this year’s lineup: Alex Garland’s “Men,” which I will probably see way before I arrive at Cannes as it is set for release on May 20th. Anna Rose Holmer & Saela Davis‘ “God’s Creatures” is the more intriguing title, Holmer directed the Sundance sensation “The Fits” and Saela Davis was her editor on that film.
Directors' Fortnight 2022 Lineup
Scarlet by Pietro Marcello (Opening Film)
1976 by Manuela Martelli
The Water by Elena López Riera
The Dam by Ali Cherri
The Super 8 Years by Annie Ernaux & David Ernaux-Briot
Ashkal by Youssef Chebbi
The Five Devils by Léa Mysius
De Humani Corporis Fabrica by Véréna Paravel & Lucien Castaing-Taylor
Continental Drift (South) by Lionel Baier
Enys Men by Mark Jenkin
Falcon Lake by Charlotte Le Bon
Will-o’-the-Wisp by João Pedro Rodrigues
Funny Pages by Owen Kline
God’s Creatures by Anna Rose Holmer & Saela Davis
Harkis by Philippe Faucon
Men by Alex Garland
The Mountain by Thomas Salvador
Pamfir by Dmytro Sukholytkyy-Sobchuk
The Green Perfume by Nicolas Pariser (Closing Film)
Paris Memories by Alice Winocour
Under the Fig Trees by Erige Sehiri
One Fine Morning by Mia Hansen-Løve
A Male by Fabian Hernández
This lineup also reveals what might be left for potential competition slots at the Cannes Film Festival.
Maybe Emanuele Crialese’s “L’immensita” will finally be added after months of speculation.
Three still unselected French titles that could be picked by Fremaux include Emmanuel Mouret’s “Chronique d'une liaison passagère,” Rebecca Zlotowski “Les Enfants des Autres” and Jean Paul Civeyrac’s “Une Femme de Notre Temps.”
Alice Diop’s “Saint Omer” is supposedly eyeing Venice now. Christophe Honoré “Le Monde d’Hier” might be as well …
I wouldn't call this film great — it stops short of that because of how neatly it resolves itself — but I'll give Rock his due here: this is much better than his previous directorial effort, "Top Five."