Cannes 2021 has 8 Palme d’Or tickets shot on film
Kodak celebrates 19 titles shot on film at the 74th festival, including 16mm entries “Flag Day”, “Red Rocket” and “Blue Bayou”.
The comeback of analog continues for cinematography, as this week’s Cannes Film Festival boasts 19 titles shot on Kodak film, including eight competing for the Palme d’Or, highlighted by “The French Dispatch” by Wes Anderson (Searchlight Pictures). The ode to journalism on several levels, with a cast consisting of Tilda Swinton, Bill Murray, Timothee Chalamet, Lea Seydoux, Benicio del Toro, Elisabeth Moss, Owen Wilson and Frances McDormand, was shot in 35mm color and black and White. white by cinematographer Robert Yeoman.
Other Palme d’Or entries shot on film include âRed Rocketâ by Sean Baker (DP Drew Daniels), âThe Story of My Wifeâ by IldikÃ³ Enyedi (DP Marcell RÃ©v), âBergman Islandâ by Mia Hansen -LÃ¸ve (DP Denis Lenoir), âCompartment No. 6â by Juho Kuosmanen (DP Jani-Petteri Passi), âFlag Dayâ by Sean Penn (DP Daniel Moder), âThe Worst Person in the Worldâ by Joachim Trier ( DP Kasper Tuxen) and Apichatpong Weerasethakul âMemoriaâ (DP Sayombhu Mukdeeprom).
Additionally, a number of films shot on Kodak 35mm and 16mm color or black and white film can be found elsewhere in the lineup, including those under the Un Certain Regard banner: “Blue Bayou” by Justin Chon (DP Matthew Chuang and Ante Cheng) and âMy brothers and meâ by Yohan Manca (DP Marco Graziaplena). Among the films of the Directors’ Fortnight: “A Chiara” by Jonas Carpignano (DP Tim Curtin), “The Tsugua Diaries” by Miguel Gomes and Maureen Fazendeiro (DP MÃ¡rio Castanheira), Pietro Marcello, Francesco Munzi and “Futura” by Alice Rohrwacher (DP IlyÃ Sapeha), and âThe Souvenirâ and âThe Souvenir Part IIâ by Joanna Hogg (DP David Raedeker).
Critics’ Week shorts shot on film include âSafeâ by Ian Barling (DP Anna Franquesa Solano) and âInherentâ by Nicolai GH Johansen (DP Sebastian Bjerregaard). Directors ‘Fortnight shorts include “The Parents’ Room” by Diego Marcon (DP Pierluigi Laffi) and “Train Again” by director / DP Peter Tscherkassky.
Recent years have seen a steady increase in nominations and recognition for productions shot on film at Cannes, rising from nine titles in 2016, 10 in 2017, 13 in 2018 and the previous highest total of 17 in 2019.
“It’s no accident that films shot on film receive disproportionate recognition,” said Steve Bellamy, president of Kodak’s Motion Picture and Entertainment. âThe film has an unmatched aesthetic quality that attracts the best and the sheer number of productions shot on film at Cannes is an indication of the continued momentum for the medium. “
Meanwhile, the Super 16mm is experiencing a special resurgence, with 10 titles choosing its distinct look, led by âFlag Dayâ, âRed Rocketâ and âBlue Bayouâ.
“The film has a signature that is difficult to replicate,” said “Flag Day” Moder director of photography. âI think he really has a similar forgiveness to the way our minds see things. This story [about con-artist Penn] takes place from the early ’70s to 1992. One of Sean’s first requests was that it had to be filmed and that everyone was on board. “
âThe choice of 16mm was even better since the look is unmistakably cinematic,â Moder continued. âA lot of the references Sean gave me were things that had that filmy look and deep blacks. Sean didn’t want me locked in an ID tent either. We didn’t get a reading. a return to a classic system of making a film on set. There was limited access to monitors on set, it really allowed us to move forward and have confidence. It was a creative workspace and efficient.
With âRed Rocket,â about ex-pornstar (Simon Rex) returning to his small town in Texas, cinematographer Daniels found 16mm tungsten film perfect for fluorescent lighting. âThey seem to wear themselves out and react differently, especially in the strongest moments,â he said. âI was in love with seeing the orange and green halo, and all the shades you get in natural colors. We were trying to find places that had so many fluorescent fumes, sodium and mercury, weird, funky LEDs, lights that could twinkle, and TV screens. We tried to embrace it all, mix it in there and see how the wrap would handle it. We have always been pleasantly surprised.
Likewise, director Chon was drawn to 16mm for âBlue Bayouâ (Focus Features) because of its ânaturalistic and visceral vibeâ. He cited a passion for John Cassavetes films, âand how they feel so raw and real. ‘Blue Bayou’ is the story of a South American family. I felt it was necessary that this be immediate and tangible, âhe said.