Arnaud Desplechin will preside over the Deauville American Film Festival this year, which will take place from September 2 to 11, 2022
His last film in Cannes
After numerous nominations for the César and selections in the biggest festivals in the world, thus showing the durability of his talent and the recognition internationally, he returns to Cannes this year with a new film, Brother and Sister, presented in competition. After Catherine Deneuve and Charlotte Gainsbourg, two essential figures of his work, he will this year be the President of the 48th Festival of American Cinema in Deauville .
A cinema of romance
From his first medium-length film La Vie des Morts (1992), Arnaud Desplechin enters the territory of cinema, that of fiction , and stands out in particular as a master of dialogue with the actors. Arnaud Desplechin builds a cinema of romance, fiction, while constantly exploding its frameworks and standards, distilling a strange strangeness. to better interrogate the mystery of reality. His work is a labyrinth where getting lost makes you think, where seeing makes you vibrate and where doubt sinks… Death will be discussed again in his second film La Sentinelle (1996), where he already mixes different genres and levels of stories. From film to film, Arnaud Desplechin dialogues with his motives, his obsessions, his ghosts and his doubles, which will be embodied in his next film How I Disturbed… (my sexual life) in the character of Paul Dedalus and the form of an actor in the person of Mathieu Amalric.
Between fantasy and thriller
It is probably no coincidence that her next film Esther Kahn is a thriller… about the condition of an actress or if her foray into the series In therapy appears as an ambush of the camera not very orthodox on the side of its actress Suzanne Lindon… Kings and Queen (2004), A Christmas Tale (2008) and his American getaway Jim¬my P. (2013), Three Memories of My Youth (2015), still testify his taste for family dramas, tinged with ancient mytho¬logy, for filia¬tion and psy¬cha¬na¬lysis as the art of investigation, conspiracy and even spying. Ismaël’s phantoms (2017) tense the threads of the canvas of a maze-like work where the echoes of the past resonate, haunted by ghosts and which continues to flirt with fantasy and thriller.