In late January-early February, French films attracted the most attention in the press in the USA and South America, while maintaining their media presence in Europe and Asia.
Just as the Oscars race is heating up, the New York Times devoted an extensive article to Two of Us by Filippo Meneghetti, which is described as "a stealthy depiction of lesbian erotics, one that mirrors the inhibitions of a generation."
Variety reported on the success of CODA, the remake of The Bélier Family that picked up a string of awards at Sundance: "It is the first film in Sundance history to win all three top prizes in the U.S. Dramatic category."
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The Animation First festival, an event organized by the FIAF entirely dedicated to French animated films, was included among the "5 Things To Do This Weekend" selected by the New York Times:
Meanwhile, the monthly Animation Magazine stated that the French short film Empty Places by Geoffroy De Crécy is "the perfect metaphor for a planet under the grip of a global pandemic."
In Eastern Europe, The Translators, recently released in Romania, caught the interest of several media outlets. According to the magazine Muze & Arme, in this film "Régis Roinsard has created a story that will keep you on the edge of your seat."
In Serbia, the press rejoiced at the theatrical release of Night Shift by Anne Fontaine:
And in Russia, Poly by Nicolas Vanier has attracted close to 20,000 moviegoers following a large-scale media campaign undertaken by the film's distributor. The equestrian magazine Gold Mustang described it as "a fascinating story that serves as a vehicle for ideas about respecting nature and animals."
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For Western Europe, we will start with Norway, where François Ozon's new film Summer of 85 was hailed by Cine.no as "a sumptuous and nostalgic childhood drama with bittersweet undertones."
The Good Old Days by Nicolas Bedos, released in Norway on Valentine's Day, was presented in Filmmagasinet as a charming alternative for the more old-fashioned couples."
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In Spain, both audiences and critics were drawn to The Girl with a Bracelet by Stéphane Demoustier. An article in Cinemania states that "the film shows us the unprecedented gap that separates us from the next generation."
The Spanish national daily El País published an in-depth interview with Vincent Cassel, who reminisces about Vinz, the character he played in Hate, which has "become an icon of contemporary French culture":
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In South Korea, Dailian.co.kr discussed the way in which the film #Iamhere highlights "the importance of communication via social media" contrasted with "the loneliness of older men."
We will conclude this report with the double appearance at this time of Noémie Merlant on movie screens in Japan: in Portrait of a Lady on Fire—which is still showing—as well as in Jumbo, whose stunning Japanese poster can be seen below.
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