The film selected to be screened in the opening gala of the Cannes International Film Festival has always caused a lot of comments. Of course, this is not the time to widen this parenthesis. The favour as such represents a recognition of value and, most of all, a formula for the launching of the production on the movie market. As Thierry Frémaux, General Delegate of the Festival, was noting, the choice of the French film ‘La Tete haute’ for the inaugural ceremony of the 2015 edition of the festival could be a shock. They renounced the commercial show in favour of an approach to social issues. The theme is not only powerful, but also moving in its engagement and rooting in reality. In addition, I must say that we can find here also an accent of discreet and refined French trendiness. Do not forget that Emmanuelle Bercot is one of the most appreciated promises. Director, writer and actress, she has managed to rise in the record every time she was at Cannes, be it with short films (1997) or simple school exercises. In her first full length film ‘Clément’ , introduced to the Un Certain Regard section in 2001, she was also in the lead part. In 2014, she was bringing to Cannes ‘Elle s `en va’, also being co-writer to Maiwen, for ‘Polisse’.
It is therefore no surprise to find her back on the billboard on the opening night in 2015 as a film director and writer, and then as actress, in a film directed by another lady who signed by the pseudonym Maiwen. In ‘Mon roi’ of the aforementioned director, she plays a hot-blooded adolescent with the much publicised Vincent Cassel as her partner.
So we cannot move over the film of tonight at Cannes too easily. ‘La Tete haute’ brings on screen but also in the limelight on the pink carpet Catherine Deneuve in the role of an instruction judge. The big actress appears next to Benoit Magimel, who plays the educator. The main character in the film is Malony, a car thief pursued cinematographically and not so much criminally from the age of 6 to 18, for whose innocence the film pleads.
It is not a bad thing that the bizarre hotness of adolescence have been renounced and that super-productions with commercial scent have been set aside. Through the inaugural window, with Pierre Lescure as President, Cannes this year indicates a new complex vector, both special and artistic.