Personal Shopper director Olivier Assayas will preside over this year’s International Competition jury at the Locarno Film Festival.
Assayas’s 2014 feature Clouds Of Sils Maria, which saw star Kristen Stewart become the first Us actress to win a Cesar Award in France, played in Locarno after its Cannes premiere. His most recent credit is as a screenwriter on Roman Polanski’s Based On A True Story, which premiered Out Of Competition at this year’s Cannes.
Locarno’s Filmmakers of the Present jury will be overseen by Yousry Nasrallah, who has been nominated for the festival’s Golden Leopard on three occasions, for Mercedes in 1993, El Medina in 1999, and for Brooks, Meadows And Lovely Faces in 2016.
The president of the Pardi di domani Competition jury will be French actress Sabine Azéma, whose has won two Best Actress Cesar Awards, for A Sunday
Sabine Azema has been named president of the Caméra d’or Jury at this year’s Cannes Film Festival (May 13-24).
The jury selects the best directorial debut presented in Official Selection (In Competition, Out of Competition and Un Certain Regard), Critics’ Week or Directors’ Fortnight, which this year represents 26 films.
French actress Azema, who won her first César in 1985 for Bertrand Tavernier’s Cannes Competition title A Sunday in the Country, follows in the footsteps of Bong Joon-Ho, Gael García Bernal, Carlos Diegues and Nicole Garcia.
Azema is known for her nearly three-decade collaboration with director Alain Resnais for whom she has performed as the tragic heroine in Love Unto Death (1984), then in Mélo (1986) for which she was awarded her second César.
Other Resnais films in which she has performed include Smoking
Alain Resnais, who has died aged 91, was a director of elegance and distinction who, despite generally working from the screenplays of other writers, established an auteurist reputation. His films were singular, instantly recognisable by their style as well as through recurring themes and preoccupations. Primary concerns were war, sexual relationships and the more abstract notions of memory and time. His characters were invariably adult (children were excluded as having no detailed past) middle-class professionals. His style was complex, notably in the editing and often – though not always – dominated by tracking shots and multilayered sound.
He surrounded himself with actors, musicians and writers of enormous talent and the result was a somewhat elitist body of work with little concern for realism or the socially or intellectually deprived. Even overtly political works, Night and Fog,
On its surface, Ang Lee's career has been distinguished by a seemingly aimless ricochet between nations and milieus (Taiwan, New York, Wyoming, Devon, Shanghai, Connecticut, etc.), and between adapted disparate source materials (Jane Austen, Rick Moody, Annie Proulx, Wang Du Lu, Stan Lee) . and from both perspectives, you can find something to carp about. Indeed, Lee is rarely considered in serious debates about contemporary heavyweights, and his cultural rootlessness (read: opportunism) and dependence on literature may well be the reasons. We commonly like our auteurs to come packaged as purebred cultural expressors, and as artists largely independent of old narrative voices. But Lee's case can also demonstrate, movie by movie, the irrelevance of location, and the depth-finding force of deft adaptation.
"The Ice Storm" (1997), newly Criterionized, makes the point with a cudgel: Lee may have been Taiwanese, but his first all-American movie couldn't have been more American.
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