Until 13th of February, we can become the part of an audience of My French Film- an online festival dedicated to francophone movies, offering a wide range of long and short metrage; all while remaining comfy in our own bedrooms.
The selection of festival movies reflects perfectly the direction that the contemporary french cinema has taken in last passed years : a turn into an individual, raw realism, social engagement, which we could see in Louise Wimmer, Desintegration or Tomboy. Filmmakers refer to the hot topics: racial discrimination, terrorism and its genesis, but especially to the condition of modern french family. This tendency is perfectly illustrated with the words of director Alain Guiraudie, speaking about his own newest film in the interview with Polish Dwutygodnik:
My film reflects the debates commonly present in french media and still inducing a lot of contoversy. Everytime you turn on a TV, they talk about the institution of mariage, homosexual relationships, families in which the woman raises the child independently.
My French Festival dedicates all its section to the woman and the role model that predominates within the featured characters is a figure of mother, observed from a different perspectives: of a pregnant teenager, trying to keep her child against the will of bourgoise parents or senegal wife forced to live with her husband’s new woman and their common child under the same roof.( more about the mother in the cinema in another post)
MUST SEE: La violence en reunion starring Vincent Cassel, which shines as usually in a role of a harsh excentric. Short movie, sneaking a heavy social issue theme in an intelligent way, weaving a big dose of black humour into the plot and ended with a razor- sharp punch line.
New wave in its pure form has gone with the sixties , but its tradition still stays present in the french modern cinema. The young creators draw inspiration from the techniques of Godard and Truffaut, manifesting in subtle references but, more often, too obviously, putting form before the content. In the formal matter, in most of presented movies a camera follows the main character, observes him from a close distance. Off camera narration is still a frequent choice when it comes to the way of leading a story.
Assuming, however films are unequal, it’s worth to see them all in order to get an overview of a francophone cinema condition, especially that we can do it from any part of the globe at any hour we choose. I guarantee it’s worth to give up on Xavier Dolan and Dardennes for a while and give the other filmmakers a try.