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CANNES 2023

Potential selections and suspended expectations seven days from the Cannes announcement

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- Invitations trickling in, intensive final viewings and well-kept secrets in the final stretch before the very promising Cannes selections are revealed

Potential selections and suspended expectations seven days from the Cannes announcement
Filmmakers Nuri Bilge Ceylan, Alice Rohrwacher (© Simona Pampallona), Aki Kaurismäki (© Elena Ringo), Jessica Hausner (© Manfred Werner), Yorgos Lanthimos (© Anna Hanks), Justine Triet, Abderrahmane Sissako (© Georges Biard), Catherine Breillat and Víctor Erice (© Hilltusk)

Rather than a crystal ball, it’s a time machine one would need to truly guess what films will be part of the selection of the 76th Cannes Film Festival (from 16 to 27 May), seven days from the Paris press conference for the Official Selection where Thierry Frémaux will climb into the ring (accompanied by new president Iris Knobloch – read the news) to unveil his picks.

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The teams of selectors on the Croisette indeed still have many films to watch and many contenders are still awaiting a response. However, beyond the titles previously announced (Jeanne du Barry [+see also:
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from France’s Maiwenn as opener – read the article –, Killers of the Flower Moon by American director Martin Scorsese – read the news – and Indiana Jones and the Dial of Destiny by James Mangold), a few favourites stand out. We survey the main tendencies, rumours, probabilities and hypotheses on the horizon.

In official competition, jury president Ruben Östlund (news) could discover About Dry Grasses [+see also:
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interview: Nuri Bilge Ceylan
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by Turkey’s Nuri Bilge Ceylan, Monster by Japanese filmmaker Hirokazu Kore-eda, La Chimera [+see also:
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by Italy’s Alice Rohrwacher, The Old Oak [+see also:
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by British director Ken Loach, Il sol dell’avvenire [+see also:
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by Italian filmmaker Nanni Moretti, Fallen Leaves [+see also:
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by Finland’s Aki Kaurismäki, Club Zero [+see also:
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interview: Jessica Hausner
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by Austria’s Jessica Hausner, Poor Things [+see also:
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interview: Suzy Bemba
Q&A: Yorgos Lanthimos
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by Greek director Yorgos Lanthimos and, from the United States, The Holdovers by Alexander Payne, Asteroid City by Wes Anderson, May December by Todd Haynes and The Bikeriders by Jeff Nichols. Among other potential titles, the most likely are The New Boy by Australian filmmaker Warwick Thornton, Black Tea [+see also:
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by Mauritania’s Abderrahmane Sissako, Cerrar los ojos [+see also:
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by Spain’s Victor Erice and Enterre seus mortos by Brazil’s Marco Dutra. Argentina also features as an outsider, with Eureka [+see also:
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interview: Lisandro Alonso
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by Lisandro Alonso and Puan [+see also:
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interview: Benjamín Naishtat and María…
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from the duo Maria Alche-Benjamin Naishtat while a great mystery surrounds Io Capitano [+see also:
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by Italy’s Matteo Garrone. Finally, French films whose fate is traditionally decided only on the night before the press conference, Anatomy of a Fall [+see also:
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interview: Justine Triet
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by Justine Triet is a favourite, before The Beast [+see also:
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interview: Bertrand Bonello
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by Bertrand Bonello and Just The Two of Us [+see also:
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interview: Valérie Donzelli
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by Valérie Donzelli, and a small pack comprising Red Island [+see also:
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by Robin Campillo, Last Summer [+see also:
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interview: Catherine Breillat
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by Catherine Breillat, Along Came Love [+see also:
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interview: Katell Quillévéré
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by Katell Quillevéré and, as a wild card, Salem [+see also:
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by Jean-Bernard Marlin (a last minute candidate). However, it is possible that Thierry Frémaux will be tempted to do a bit of spring cleaning and upset part of the predictions for the race to the 2023 Palme d’Or. Story to be continued, especially as the code of silence seems to be better enforced than ever as the quality of this year’s edition is extremely promising.

Previsions are all  the harder to make since the Directors' Fortnight (and its new general delegate - news) has chosen a wait-and-see attitude regarding invitations and rejections, with only small clues about its editorial line filtering through (more attention to direction than to topics). Critics' Week, meanwhile, is fully in tune with the game typical of the Croisette, where the final stretch is often a chance for the Official Selection to take its pick from the feature films appreciated by the parallel sections. A whole array of films therefore reverberates from one end of the Croisette to the other, including Omen [+see also:
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interview: Baloji
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from Belgian filmmaker of Congolese origins Baloji, animated film Robot Dreams [+see also:
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by Spain’s Pablo Berger, La Cocina by Mexico’s Alonso Ruizpalacios, Tiger Stripes [+see also:
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interview: Amanda Nell Eu
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by Malaisia’s Amanda Nell Eu, Los Colonos (The Settlers) [+see also:
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interview: Felipe Gálvez
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 by Chilean director Felipe Gálvez, Nobody Likes Me by Czech filmmakers Tomás Weinreb and Petr Kazda (news), Xue Bao by Tibet’s Pema Tseden, MMXX [+see also:
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interview: Cristi Puiu
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by Romania’s Cristi Puiu, Heartless [+see also:
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by Brazilian directors Tião and Nara Normande, Solitude [+see also:
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interview: Ninna Pálmadóttir
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by Iceland’s Ninna Pálmadóttir, Some Rain Must Fall [+see also:
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by Chinese director Qiu Yang and a film from fellow Chinese filmmaker Wei Shujun, by Mongolia’s Lkhagvadulam Purev-Ochir (aka Dulmaa), a film by Canada’s Caitlin Cronenberg and Drag by Canada’s Sophie Dupuis, Crossing [+see also:
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interview: Levan Akin
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by Sweden’s Levan Akin, (Ex)perience of Love [+see also:
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interview: Ann Sirot & Raphael Balboni
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by Belgian duo Ann Sirot - Raphaël Balboni, Ebba by Finnish-Swedish director Johanna Pyykkö, Handling the Unded [+see also:
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by Norway’s Thea Hvistendahl, Hesitation Wound [+see also:
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interview: Selman Nacar
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by Turkish filmmaker Selman Nacar, Banel & Adama [+see also:
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interview: Ramata-Toulaye Sy
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by Senegalese-French director Ramata-Toulaye Sy, In Flames by Canadian-Pakistanese filmmaker Zarrar Kahn, Amanhã sera outro dia by Portugal’s Pedro Pinho and L’or et le monde by Portugal’s Ico Costa, The Devil’s Bath [+see also:
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interview: Veronika Franz, Severin Fiala
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by Austria’s Veronika Franz and Severin Fiala, a film from American filmmaker Zia Anger, Lost Country [+see also:
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interview: Vladimir Perišić
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by Serbia’s Vladimir Perisic, Jepotá by Brazil’s Carlos Papá Guarani and Augusto Canani, La bella estate [+see also:
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by Italy’s Laura Luchetti and Basileia by Italy’s Isabella Torre, Who Do I Belong To [+see also:
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interview: Meryam Joobeur
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 by Tunisia’s Meryam Joobeur and Behind the Maountains [+see also:
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interview: Mohamed Ben Attia
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]
by Tunisia’s Mohamed Ben Attia.

Among potential French titles are Ama Gloria [+see also:
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interview: Marie Amachoukeli
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]
by Marie Amachoukeli-Barsacq, Spirit of Ectasy [+see also:
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interview: Héléna Klotz
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by Helena Klotz, Borgo [+see also:
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by Stéphane Demoustier, Bitten [+see also:
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interview: Romain de Saint-Blanquat
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by Romain de Saint-Blanquat, Vincent Must Die [+see also:
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interview: Stéphan Castang
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by Stéphane Castang, A Wonderful Girl [+see also:
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 by Marie Garel-Weiss, Pendant ce temps sur la Terre [+see also:
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by Jérémy Clapin, A Good Jewish Boy by Noé Debré, After the Fire [+see also:
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by Mehdi Fikri, Keeping Mum [+see also:
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interview: Emilie Brisavoine
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 by Émilie Brisavoine, Toni [+see also:
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by Nathan Ambrosioni and Sisterhood [+see also:
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interview: Nora El Hourch
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by Nora El Hourch. Other potential attractions: Party of Fools [+see also:
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by Arnaud des Pallières, A Real Job [+see also:
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interview: Thomas Lilti
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by Thomas Lilti, A Difficult Year [+see also:
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interview: Olivier Nakache and Eric To…
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 by Olivier Nakache and Éric Toledano, Daaaaaali! [+see also:
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by Quentin Dupieux, Conan la Barbare by Bertrand Mandico, Le procès Goldman [+see also:
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interview: Cédric Kahn
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by Cédric Kahn, Le Règne animal [+see also:
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interview: Thomas Cailley
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by Thomas Cailley and Les Fainéants by Karim Dridi.

Finally, emerging among the possible documentary titles are Dahomey [+see also:
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by Mati Diop, Ricardo and Painting [+see also:
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by Barbet Schroeder, the documentary-fiction hybrid Four Daughters [+see also:
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interview: Kaouther Ben Hania
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]
by Tunisia’s Kaouther Ben Hania and Room 999 by Lubna Playoust.

The die is cast, and light will be shed on the gems of Cannes 2023 during the press conferences of April 13 (when Thierry Frémaux plans to reveal 80% of his Official Selection), 17 and 18.

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(Translated from French)

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