Before dreaming of Palme d’Or, many directors go through parallel sections. This is the case this year of Vincent Maël Cordona and Panah Panahi who presented Magnetics and Hit the Road at the Directors’ Fortnight.
Vincent Maël Cordona, 41, grew up in the Côtes-d’Armor, between Le Gouray (today Le Mené) and Saint-Brieuc. A stint in the great Parisian cinema school La Fémis and, after several short and medium-length films, he finally made a feature film, Magnetics.
Through Philippe’s story, this very successful film (scheduled for release in November) tells about two brothers in an imaginary province, the 1980s, free radio, military service… But above all why young people have the right to dream of another world. A very musical film, dark and bright at the same time.
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Vincent Maël Cardona, director of Magnétiques. © Ouest-France
“I wanted this contrast, comedy-tragedy, day-night, silence-noise. “
Today, do young people still have the right to dream as much? “It’s still burning. In the light of this world lost with digital change, we may find the springs of dreams. The youth of the 1980s invented the no future. She didn’t think she was going to change the world anymore, but she was going. Like an intensification of the present which is found in rock played in small towns, with Gilles Bertin and Philippe Pascal. Today, young people must invent a future in a world that we know is finished. “
A road movie filled with sharp humor
Panah Panahi, 37, son of Jafar Panahi, great Iranian director author of White balloon and of Tehran Taxi also went through the courts before signing Hit the Road. This road movie of a family accompanying their eldest son to exile, on the border with Turkey, already shows a style and tone filled with humor, with a keen eye on the human being.
“This family is neither perfect nor zero. And I didn’t want to make a themed film on emigration but, of course, it was fueled by the situation in Iran today. A general statement that will not create problems for me, I believe, with the authorities. Except maybe all those songs from before the Revolution that I use, the fact that the mother is not veiled, that she smokes and that the family has a dog. Watching my father on the sets, I think I learned a lot from his calm, but I only showed him the finished script. It had to be my movie. “
What if these directors were the greats of tomorrow?
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