{"id":7358,"date":"2021-06-06T11:26:03","date_gmt":"2021-06-06T11:26:03","guid":{"rendered":"http:\/\/thesica.in\/?p=7358"},"modified":"2021-06-06T11:26:03","modified_gmt":"2021-06-06T11:26:03","slug":"cannes-2021","status":"publish","type":"post","link":"https:\/\/thesica.in\/ta\/cannes-2021\/","title":{"rendered":"Cannes 2021"},"content":{"rendered":"

World’s most prestigious and oldest film festival Cannes which always celebrates experimental films both as a form and content.<\/p>\n

Pandemic situation made many film events to drop or postponed, Oscar film awards ceremony which was to happen during feb was done on April.<\/p>\n

\"\"
Festival director Thierry Fremaux, and Festival president Pierre Lescure speak during the press conference for the presentation of the official selection of the 74th International Cannes Film Festival, in Paris, Thursday, June 3, 2021. (AP Photo\/Francois Mori)<\/figcaption><\/figure>\n

Cannes this year calendar shifts to June 2021.<\/p>\n

It was comeback time for the Cannes Film Festival\u2019s 74th edition after the 12-day event was cancelled last year because of the Coronavirus Pandemic.<\/p>\n

Despite the Pandemic, which has still not abated, the buzz this year around the event on the lovely French Riviera, which was postponed to July 6 from its usual Mid-May date,many film buffs will not be able to attend the Festival because of travel restrictions.<\/p>\n

Announcing the official selections statement that there were two separate lists \u2013 Green and Red (with 16 countries, presumably India as well). Those from the Green would have easier access to Cannes and the Festival, although it was still mandatory for all visitors to have a Coronavirus test done every 48 hours during their stay. It would be a simple saliva test that had to be booked on the website. The test would be free of charge.<\/p>\n

The films of the Official Selection 2021<\/p>\n

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On Thursday 3 June at 11am listed out films to be screened at Cannes.\u00a0<\/strong><\/p>\n<\/div>\n<\/div>\n

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Discover the list of selected films in Competition, Un Certain Regard, Out of Competition, Midnight Screenings, Cannes Premi\u00e8res, and Special screenings.\u00a0<\/strong><\/p>\n<\/div>\n

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 <\/p>\n

In Competition<\/p>\n

<\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Opening Film<\/p>\n

ANNETTE<\/td>\n

 <\/p>\n

Leos CARAX (France)<\/td>\n<\/tr>\n

<\/td>\n***<\/td>\n<\/tr>\n
A FELES\u00c9GEM T\u00d6RT\u00c9NETE
\n(THE STORY OF MY WIFE)<\/td>\n		Ildik\u00f3 ENYEDI (Hungary)<\/td>\n<\/tr>\n
BENEDETTA<\/td>\nPaul VERHOEVEN (Netherlands)<\/td>\n<\/tr>\n
BERGMAN ISLAND<\/td>\nMia HANSEN-LOVE (France)<\/td>\n<\/tr>\n
DRIVE MY CAR<\/td>\nRyusuke HAMAGUCHI (Japan)<\/td>\n<\/tr>\n
FLAG DAY<\/td>\nSean PENN (USA)<\/td>\n<\/tr>\n
HA’BERECH
\n(AHED\u2019S KNEE)<\/td>\n		Nadav LAPID (Israel)<\/td>\n<\/tr>\n
CASABLANCA BEATS<\/td>\nNabil AYOUCH (Morocco)<\/td>\n<\/tr>\n
HYTTI NRO 6
\n(COMPARTMENT NO.6)<\/td>\n		Juho KUOSMANEN (Finland)<\/td>\n<\/tr>\n
THE WORST PERSON IN THE WORLD<\/td>\nJoachim TRIER (Norway)<\/td>\n<\/tr>\n
LA FRACTURE<\/td>\nCatherine CORSINI (France)<\/td>\n<\/tr>\n
THE RESTLESS<\/td>\nJoachim LAFOSSE (Belgium)<\/td>\n<\/tr>\n
PARIS 13TH DISTRICT<\/td>\nJacques AUDIARD (France)<\/td>\n<\/tr>\n
LINGUI<\/td>\nMahamat-Saleh HAROUN (Chad)<\/td>\n<\/tr>\n
MEMORIA<\/td>\nApichatpong WEERASETHAKUL (Tha\u00efland)<\/td>\n<\/tr>\n
NITRAM<\/td>\nJustin KURZEL (Australia)<\/td>\n<\/tr>\n
FRANCE<\/td>\nBruno DUMONT (France)<\/td>\n<\/tr>\n
PETROV\u2019S FLU<\/td>\nKirill SEREBRENNIKOV (Russia)<\/td>\n<\/tr>\n
RED ROCKET<\/td>\nSean BAKER (USA)<\/td>\n<\/tr>\n
THE FRENCH DISPATCH<\/td>\nWes ANDERSON (USA)<\/td>\n<\/tr>\n
TITANE<\/td>\nJulia DUCOURNAU (France)<\/td>\n<\/tr>\n
TRE PIANI<\/td>\nNanni MORETTI (Italy)<\/td>\n<\/tr>\n
TOUT S\u2019EST BIEN PASS\u00c9<\/td>\nFran\u00e7ois OZON (France)<\/td>\n<\/tr>\n
A HEROS<\/td>\nAsghar FARHADI (Iran)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
\n

 <\/p>\n

Un Certain Regard<\/strong><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
MONEYBOYS<\/td>\nC.B Yi (Austria)<\/td>\n1st film<\/em><\/td>\n<\/tr>\n
BLUE BAYOU<\/td>\nJustin CHON (USA)<\/td>\n<\/td>\n<\/tr>\n
FREDA<\/td>\nGessica\u00a0G\u00c9N\u00c9US (Ha\u00efti)<\/td>\n1st film<\/em><\/td>\n<\/tr>\n
DELO<\/p>\n

(HOUSE ARREST)<\/td>\n

Alexey GERMAN JR. (Russia)<\/td>\n<\/td>\n<\/tr>\n
BONNE\u00a0M\u00c8RE<\/td>\nHafsia HERZI (France)<\/td>\n<\/td>\n<\/tr>\n
NOCHE DE FUEGO<\/td>\nTatiana HUEZO (Mexico)<\/td>\n<\/td>\n<\/tr>\n
LAMB<\/td>\nValdimar J\u00d3HANSSON (Iceland)<\/td>\n1st film<\/em><\/td>\n<\/tr>\n
COMMITMENT HASAN<\/td>\nHasan Semih KAPLANOGLU (Turkey)<\/td>\n<\/td>\n<\/tr>\n
AFTER YANG<\/td>\nKogonada (USA)<\/td>\n<\/td>\n<\/tr>\n
LET THERE BE MORNING<\/td>\nEran KOLIRIN (Israel)<\/td>\n<\/td>\n<\/tr>\n
UNCLENCHING THE FISTS<\/td>\nKira KOVALENKO (Russia)<\/td>\n<\/td>\n<\/tr>\n
WOMEN DO CRY<\/td>\nMina MILEVA (Bulgaria)<\/p>\n

Vesela KAZAKOVA (Bulgaria)<\/td>\n

<\/td>\n<\/tr>\n
REHANA MARYAM NOOR<\/td>\nAbdullah Mohammad SAAD (Bangladesh)<\/td>\n<\/td>\n<\/tr>\n
GREAT FREEDOM<\/td>\nSebastian MEISE (Austria)<\/td>\n<\/td>\n<\/tr>\n
LA CIVIL<\/td>\nTeodora Ana MIHAI (Romania \/ Belgium)<\/td>\n1st film<\/em><\/td>\n<\/tr>\n
GAEY WA’R<\/td>\nNA Jiazuo (China)<\/td>\n1st film<\/em><\/td>\n<\/tr>\n
THE INNOCENTS<\/td>\nEskil VOGT (Norway)<\/td>\n<\/td>\n<\/tr>\n
PLAYGROUND<\/td>\nLaura WANDEL (Belgium)<\/td>\n1st film<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
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Out of Competition<\/strong><\/p>\n\n\n\n\n\n\n\n\n
DE SON VIVANT<\/td>\nEmmanuelle BERCOT (France)<\/td>\n<\/td>\n<\/tr>\n
EMERGENCY DECLARATION<\/td>\nHAN Jae-Rim (Korea)<\/td>\n<\/td>\n<\/tr>\n
THE VELVET UNDERGROUND<\/td>\nTodd HAYNES (USA)<\/td>\n<\/td>\n<\/tr>\n
BAC NORD<\/td>\nC\u00e9dric JIMENEZ (France)<\/td>\n<\/td>\n<\/tr>\n
ALINE, THE VOICE OF LOVE<\/td>\nVal\u00e9rie LEMERCIER (France)<\/td>\n<\/td>\n<\/tr>\n
STILLWATER<\/td>\nTom MCCARTHY (USA)<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Midnight Screenings<\/span><\/h2>\n\n\n\n
BLOODY ORANGES<\/td>\nJean-Christophe MEURISSE (France)<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Cannes Premiere<\/span><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n
HOLD ME TIGHT<\/td>\nMathieu AMALRIC (France)<\/td>\n<\/td>\n<\/tr>\n
COW<\/td>\nAndrea ARNOLD (UK)<\/td>\n<\/td>\n<\/tr>\n
LOVE SONGS FOR TOUGH GUYS<\/td>\nSamuel BENCHETRIT (France)<\/td>\n<\/td>\n<\/tr>\n
DECEPTION<\/td>\nArnaud DESPLECHIN (France)<\/td>\n<\/td>\n<\/tr>\n
JANE PAR CHARLOTTE<\/td>\nCharlotte GAINSBOURG (France)<\/td>\n1st film<\/em><\/td>\n<\/tr>\n
IN FRONT OF YOUR FACE<\/td>\nHONG Sang-Soo (Korea)<\/td>\n<\/td>\n<\/tr>\n
MOTHERING SUNDAY<\/td>\nEva HUSSON (France)<\/td>\n<\/td>\n<\/tr>\n
EVOLUTION<\/td>\nKorn\u00e9l MUNDRUCZO (Hungary)<\/td>\n<\/td>\n<\/tr>\n
VAL<\/td>\nTing POO (USA)<\/p>\n

Leo SCOTT (USA)<\/td>\n

<\/td>\n<\/tr>\n
JFK REVISITED: THROUGH THE LOOKING GLASS<\/td>\nOliver STONE (USA)<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/h2>\n

Special Screenings<\/h2>\n\n\n\n\n\n\n\n
O MARINHEIRO DAS MONTANHAS
\n(MARINER OF THE MOUNTAINS)<\/td>\n		Karim A\u00cfNOUZ (Brazil)<\/td>\n<\/td>\n<\/tr>\n
BLACK NOTEBOOKS<\/td>\nShlomi ELKABETZ (Israel)<\/td>\n<\/td>\n<\/tr>\n
BABI YAR. CONTEXT<\/td>\nSergei LOZNITSA (Ukraine)<\/td>\n<\/td>\n<\/tr>\n
H6<\/td>\nY\u00e9 Y\u00e9 (France)<\/td>\n1st film<\/em><\/td>\n<\/tr>\n
THE YEAR OF THE EVERLASTING STORM<\/td>\nJafar PANAHI (Iran), Anthony CHEN (Singapor), Malik VITTHAL (USA), Laura POITRAS (USA), Dominga SOTOMAYOR (Chile), David LOWERY (USA), and Apichatpong WEERASETHAKUL (Thailand)<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
\n
<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n

Drafted by<\/p>\n<\/div>\n

CJ Rajkumar<\/p>\n

Author\/ Cinematographer.<\/p>\n

 <\/p>\n

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<\/div>\n<\/div>\n
<\/div>","protected":false},"excerpt":{"rendered":"

World’s most prestigious and oldest film festival Cannes which always celebrates experimental films both as a form and content. Pandemic situation made many film events to drop or postponed, Oscar film awards ceremony which was to happen during feb was done on April. Cannes this year calendar shifts to June 2021. It was comeback time […]<\/p>\n","protected":false},"author":1,"featured_media":7360,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"translation":{"provider":"WPGlobus","version":"2.8.1","language":"ta","enabled_languages":["en","ta"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ta":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/7358"}],"collection":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/comments?post=7358"}],"version-history":[{"count":2,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/7358\/revisions"}],"predecessor-version":[{"id":7362,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/7358\/revisions\/7362"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media\/7360"}],"wp:attachment":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media?parent=7358"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/categories?post=7358"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/tags?post=7358"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}