While not receiving the same attention as the main competition, the sidebar is where you often glimpse the future of cinema.
The British filmmaker Molly Manning Walker was on vacation in Rome on May 26, 2023, when her phone rang. A week earlier, her feature debut “How to Have Sex” had premiered at the Cannes Film Festival. Now, festival organizers were calling because her movie, about a group of 16-year-old girls who spend a debauched booze and sex-soaked summer vacation on the Greek island of Crete, had won a prize that would be announced at that evening’s closing ceremony back on the Côte d’Azur.
“I had to drive to the nearest airport really quickly and get on the next plane and I ran in three minutes after the film had been announced,” Manning Walker, 30, recalled in a recent phone interview.
She wasn’t exaggerating. She did, in fact, bolt into the cinema wearing a lime green T-shirt and black tennis shorts. “What the hell is going on?” she asked the audience in disbelief. The answer was that “How to Have Sex” had won the top award in Un Certain Regard, the sidebar section at the festival that is known for recognizing films by new and emerging directors.
While the starry main competition at Cannes — which begins on Tuesday, and this year features new work by David Cronenberg, Francis Ford Coppola, Yorgos Lanthimos and other established filmmakers — attracts most of the media’s attention, Un Certain Regard, which translates to “a certain look,” is where one can most reliably glimpse where world cinema is headed. In the words of Thierry Frémaux, Cannes’s artistic director, “U.C.R. discovers and celebrates the new generation and expands the frontiers of cinema.”
In an email interview, Frémaux, who heads the viewing committee that selects the films that screen at the festival, said that Un Certain Regard’s purpose was “to bring out new trends, new paths, new countries of cinema. It’s a selection that favors young filmmakers, especially female directors, and prepares the emergence of future generations.
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Source: Movies - nytimes.com