The first rule about not being in Cannes is that you can still talk about Cannes.
Rester Vertical (Staying Vertical)
Audience dividers are ten a penny in Cannes. And French writer-director Alain Guiraudie seems to fit the bill with Rester Vertical, three years after his Un Certain Regard directing prize for also sexually charged Stranger by the Lake. Damien Bonnard is Léo, diverting his script-writing overdue deadline, to befriend then be abandoned by single mother Marie (India Hair). Léo is quite literally left holding the baby, then, as a series of social and somewhat fairytale encounters ensue, continuing to send Rester Vertical (in spite of its translated title Staying Vertical) into a topsy-turvy tale of character, comedy, and intrigue. Critics are hard-pressed not to mention a certain Pink Floyd accompanied sex scene, one of many sequences and visuals Guiraudie incorporates thus resulting in not-equal parts pleasing-on-the-eye and digressive shock tactics.
Likely a downgraded opinion in comparison to the 2013 success, I suspect this soon gets lost in the shadows of much greater, accessible competition this year, and we won’t be seeing Guiruadie and company at all next Sunday evening.
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