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Sophie Marceau shines in Cannes in a new film

For example, every time you enter the festival palace, you will have fun with a covid pass or a valid test not older than 48 hours (many therefore take tests every other day), but an e-ticket is enough when entering the cinema. And after the screening, one walks through the connecting door, ie without a medical certificate, comfortably into the palace.

In front of the main cinema, where film delegations enter the red carpet stretched on the legendary stairs, the usual crowds do not gather, the corridors for fans are very narrow. But just down the street, the festival installed large screens in the restaurant gardens so that people could watch the opening ceremony (or football), for example, and for the festival to support the return of gastronomy, trampled by a nine-month closure. And there people gather tightly and eighty-six, of course, without any controls.

Overall, there are incomparably fewer participants in Cannes. At other times, the giant film market is mostly online this year, and far fewer journalists have arrived, which does not mean that it is easier to get to the cinema. Joining a reservation system and ordering an e-ticket often takes a lot of patience, and then it happens that a ticket to a gala performance comes a moment before it, so you can change into a strictly required evening gown, including high-heeled shoes (gentlemen in a tuxedo). . And the system will not issue him a ticket for the next screening of the same film.

And the sight of the red carpet is sad, where instead of the usual bunches of cameramen and photographers there are only a few individuals and they try (sometimes a little in vain) to give the delegations the impression of the same experience as in the pre-Eve period.

Francois Ozon did not disappoint

What has not changed, however, is the festival’s behavior towards invited filmmakers who have come to present their films. They are celebrated in the same way, whether it’s a delegation as stellar as director Francois Ozon, who presented Sophie Marceau and others with the competition film Tout s vest bien passé, or the director and actress Lingui from Chad, who it is a celebration of the life and desire of Chadian women for liberation from the grip of prejudice and religious taboos.

Ozone’s film is a superbly shot true story of a middle-aged woman, Emmanuel Bernheim, whom her 80-year-old stroke-faced father asks with a determination that has accompanied him all his life to help him leave life.

The vicissitudes, whether internal or external (euthanasia is forbidden in France), through which both pass, are served by Ozone with great respect for both main characters, with the feeling but also the humor that even tense situations bring. And when, in the final scene, a woman from a Swiss sanatorium, played by the great Hanna Schygully, calls Emmanuèle the title sentence Everything was OK, a palpable emotion gripped the whole hall, and then came a long applause.

Sophia Marceau, who became famous with her first film Party in 1980, was introduced by the presenter at a press conference as an “actress we all love”, and she herself said that she saw Emmanuèle as a very living woman, extremely life-loving but nevertheless understood that a person should have the right to decide not only about his life but also about death.

In the film, Marceau gave a captivating performance full of emotion without sentiment. So did her father’s representative, André Dussollier.

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