{"id":49650,"date":"2025-04-14T17:41:27","date_gmt":"2025-04-14T20:41:27","guid":{"rendered":"https:\/\/news.filmelier.com\/cannes-2025-selecao-principal-analise\/"},"modified":"2025-06-09T00:39:41","modified_gmt":"2025-06-09T03:39:41","slug":"cannes-2025-selecao-principal-analise","status":"publish","type":"post","link":"https:\/\/news.filmelier.com\/br\/cannes-2025-selecao-principal-analise\/","title":{"rendered":"Cannes 2025 decepciona com apenas um filme latino-americano na competi\u00e7\u00e3o principal"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Na \u00faltima quinta-feira, 10, o <\/span><a href=\"https:\/\/www.filmelier.com\/br\/festival\/cannes\"><b>Festival de Cannes<\/b><\/a><span style=\"font-weight: 400;\"> finalmente revelou sua sele\u00e7\u00e3o oficial para a edi\u00e7\u00e3o de 2025, enquanto as mostras paralelas tamb\u00e9m come\u00e7aram a divulgar os filmes escolhidos para o evento que acontecer\u00e1 na <\/span><b>Fran\u00e7a<\/b><span style=\"font-weight: 400;\"> entre os dias 13 e 24 de maio. Por um lado, h\u00e1 motivo para celebra\u00e7\u00e3o com a sele\u00e7\u00e3o do novo filme do recifense <\/span><b>Kleber Mendon\u00e7a Filho<\/b><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">O Agente Secreto<\/span><\/i><span style=\"font-weight: 400;\">, estrelado por Wagner Moura.<\/span><\/p>\n<div class=\"elementor-element elementor-element-7a6285c elementor-widget elementor-widget-theme-post-title elementor-page-title elementor-widget-heading\" data-id=\"7a6285c\" data-element_type=\"widget\" data-widget_type=\"theme-post-title.default\">\n<div class=\"elementor-widget-container\">\n<ul>\n<li class=\"elementor-size-default\"><strong>Leia tamb\u00e9m: <a href=\"https:\/\/news.filmelier.com\/adolescencia-critica-plano-sequencia\/\"><em>Adolesc\u00eancia<\/em>: a miniss\u00e9rie da Netflix em plano-sequ\u00eancia \u00e9 obra potente<\/a><\/strong><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p><span style=\"font-weight: 400;\">No entanto, essa inclus\u00e3o isolada evidencia um problema maior. Ap\u00f3s um ano excepcional para o cinema fora do eixo Estados Unidos-Europa em <\/span><b>festivais internacionais<\/b><span style=\"font-weight: 400;\">, com destaques como <\/span><a href=\"https:\/\/www.filmelier.com\/br\/filmes\/26535\/ainda-estou-aqui\"><i><span style=\"font-weight: 400;\">Ainda Estou Aqui<\/span><\/i><\/a><span style=\"font-weight: 400;\">, <\/span><a href=\"https:\/\/www.filmelier.com\/br\/filmes\/28868\/sem-chao\"><i><span style=\"font-weight: 400;\">Sem Ch\u00e3o<\/span><\/i><\/a><span style=\"font-weight: 400;\"> e produ\u00e7\u00f5es aclamadas do Ir\u00e3 e da \u00cdndia, Cannes parece dar as costas ao crescente movimento global de <\/span><b>diversidade cinematogr\u00e1fica<\/b><span style=\"font-weight: 400;\">.<\/span><\/p>\n<figure id=\"attachment_44140\" aria-describedby=\"caption-attachment-44140\" style=\"width: 972px\" class=\"wp-caption alignnone\"><img fetchpriority=\"high\" decoding=\"async\" class=\" wp-image-44140\" src=\"https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/o-agente-secreto1-300x201.webp\" alt=\"Cena do filme 'O Agente Secreto', com Wagner Moura (Vitrine Filmes\/Divulga\u00e7\u00e3o)\" width=\"972\" height=\"651\" srcset=\"https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/o-agente-secreto1-300x201.webp 300w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/o-agente-secreto1-768x515.webp 768w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/o-agente-secreto1-150x101.webp 150w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/o-agente-secreto1.webp 984w\" sizes=\"(max-width: 972px) 100vw, 972px\" \/><figcaption id=\"caption-attachment-44140\" class=\"wp-caption-text\"><em>Agente Secreto<\/em>, com Wagner Moura (Vitrine Filmes\/Divulga\u00e7\u00e3o)<\/figcaption><\/figure>\n<h2><b>O monop\u00f3lio ocidental em Cannes<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Thierry Fr\u00e9maux, diretor art\u00edstico do festival, assina uma sele\u00e7\u00e3o com apenas dois filmes asi\u00e1ticos na competi\u00e7\u00e3o pela <\/span><b>Palma de Ouro<\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Renoir<\/span><\/i><span style=\"font-weight: 400;\">, de Chie Hayakawa, e <em>A<\/em><\/span><i><span style=\"font-weight: 400;\">\u00a0Simple Accident<\/span><\/i><span style=\"font-weight: 400;\">, do iraniano <a href=\"https:\/\/www.filmelier.com\/br\/director\/jafar-panahi\">Jafar Panahi<\/a>), um \u00fanico latino-americano (o j\u00e1 mencionado longa de Mendon\u00e7a Filho) e absolutamente nenhum africano. \u00c9 quase inconceb\u00edvel pensar que <\/span><b>cinematografias potentes<\/b><span style=\"font-weight: 400;\"> como as do M\u00e9xico, Argentina, Chile e Coreia do Sul n\u00e3o produziram sequer um filme digno da competi\u00e7\u00e3o principal.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">A an\u00e1lise dos 19 t\u00edtulos selecionados para a disputa pela Palma de Ouro revela um desequil\u00edbrio gritante: 11 produ\u00e7\u00f5es da Europa Ocidental, 4 dos Estados Unidos, 2 asi\u00e1ticas e apenas 1 latino-americana. Isso em um ano em que o <\/span><b>cinema latino<\/b><span style=\"font-weight: 400;\"> vinha conquistando espa\u00e7o e reconhecimento internacional sem precedentes.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enquanto isso, nomes consagrados de Hollywood e do circuito europeu monopolizam o festival. <a href=\"https:\/\/www.filmelier.com\/br\/director\/wes-anderson\">Wes Anderson<\/a> retorna com <\/span><i><span style=\"font-weight: 400;\">The Phoenician Scheme<\/span><\/i><span style=\"font-weight: 400;\">; <a href=\"https:\/\/www.filmelier.com\/br\/noticias\/titane-julia-ducournau-analise\">Julia Ducournau, vencedora da Palma com <\/a><\/span><a href=\"https:\/\/www.filmelier.com\/br\/noticias\/titane-julia-ducournau-analise\"><i><span style=\"font-weight: 400;\">Titane<\/span><\/i><\/a><span style=\"font-weight: 400;\">, apresenta <\/span><i><span style=\"font-weight: 400;\">Alpha<\/span><\/i><span style=\"font-weight: 400;\">; Oliver Hermanus traz Paul Mescal em <\/span><i><span style=\"font-weight: 400;\">The History of Sound<\/span><\/i><span style=\"font-weight: 400;\">; <a href=\"https:\/\/www.filmelier.com\/br\/director\/joachim-trier\">Joachim Trier<\/a> se re\u00fane com Renate Reinsve em <\/span><i><span style=\"font-weight: 400;\">Sentimental Value<\/span><\/i><span style=\"font-weight: 400;\">; e <a href=\"https:\/\/www.filmelier.com\/br\/director\/richard-linklater\">Richard Linklater<\/a> presta homenagem \u00e0 nouvelle vague francesa com <\/span><i><span style=\"font-weight: 400;\">Nouvelle Vague<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n<h2><b>Mostras paralelas seguem o mesmo caminho<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Essa tend\u00eancia euroc\u00eantrica se estende \u00e0s mostras paralelas, como <\/span><b>Un Certain Regard<\/b><span style=\"font-weight: 400;\">, que abriga a estreia de Scarlett Johansson na dire\u00e7\u00e3o com <\/span><i><span style=\"font-weight: 400;\">Eleanor the Great<\/span><\/i><span style=\"font-weight: 400;\"> e o primeiro filme dirigido pelo ator Harris Dickinson, <\/span><i><span style=\"font-weight: 400;\">Urchin<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Dos 16 filmes selecionados para Un Certain Regard, apenas quatro s\u00e3o asi\u00e1ticos e um africano. Da Am\u00e9rica Latina, apenas <\/span><i><span style=\"font-weight: 400;\">The Mysterious Gaze of the Flamingo<\/span><\/i><span style=\"font-weight: 400;\">, do chileno Diego C\u00e9spedes, conseguiu espa\u00e7o. \u00c9 perturbador questionar: realmente n\u00e3o havia outros filmes latino-americanos \u00e0 altura da sele\u00e7\u00e3o?<\/span><\/p>\n<figure id=\"attachment_44141\" aria-describedby=\"caption-attachment-44141\" style=\"width: 991px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\" wp-image-44141\" src=\"https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/thierry-fremaux-300x175.webp\" alt=\"O chef\u00e3o de Cannes, Thierry Fremaux (Cr\u00e9dito: Jean-Louis Hupe\/Divulga\u00e7\u00e3o\/Cannes)\" width=\"991\" height=\"578\" srcset=\"https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/thierry-fremaux-300x175.webp 300w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/thierry-fremaux-1024x597.webp 1024w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/thierry-fremaux-768x448.webp 768w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/thierry-fremaux-150x88.webp 150w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/thierry-fremaux.webp 1200w\" sizes=\"(max-width: 991px) 100vw, 991px\" \/><figcaption id=\"caption-attachment-44141\" class=\"wp-caption-text\">O chef\u00e3o de Cannes, Thierry Fremaux (Cr\u00e9dito: Jean-Louis Hupe\/Divulga\u00e7\u00e3o\/Cannes)<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">At\u00e9 as homenagens refor\u00e7am a impress\u00e3o de que Cannes se tornou uma extens\u00e3o de <\/span><b>Hollywood<\/b><span style=\"font-weight: 400;\">. Robert De Niro ser\u00e1 o grande homenageado deste ano \u2013 seguindo George Lucas e Martin Scorsese nas edi\u00e7\u00f5es anteriores. O diretor Todd Haynes receber\u00e1 o Carrosse d&#8217;Or, pr\u00eamio de inova\u00e7\u00e3o atribu\u00eddo pela associa\u00e7\u00e3o francesa de realizadores (SRF).<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Ao menos a <\/span><b>atriz francesa<\/b><span style=\"font-weight: 400;\"> Juliette Binoche presidir\u00e1 o j\u00fari da competi\u00e7\u00e3o principal, enquanto seu compatriota Laurent Lafitte ser\u00e1 o anfitri\u00e3o das cerim\u00f4nias de abertura e encerramento.<\/span><\/p>\n<h2><b>Um novo posicionamento estrat\u00e9gico<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">O que testemunhamos \u00e9 a consolida\u00e7\u00e3o de um novo posicionamento de Cannes no <\/span><b>cen\u00e1rio cinematogr\u00e1fico global<\/b><span style=\"font-weight: 400;\">. Assim como o Festival de Veneza, o evento comandado por Fr\u00e9maux parece determinado a pautar as discuss\u00f5es (e premia\u00e7\u00f5es) do cinema americano nos pr\u00f3ximos meses. H\u00e1 um empenho maior em ser popular e midi\u00e1tico do que plural e representativo.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Evidentemente, essa \u00e9 uma estrat\u00e9gia calculada para manter o festival relevante e atrair a aten\u00e7\u00e3o do p\u00fablico mais jovem e menos cin\u00e9filo. O espectador ocasional ainda pode se interessar por Cannes quando o festival apresenta astros de Hollywood e diretores populares.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00c9 justo reconhecer que Cannes parece caminhar para um maior <\/span><b>equil\u00edbrio de g\u00eanero<\/b><span style=\"font-weight: 400;\"> entre cineastas \u2013 s\u00e3o seis diretoras mulheres contra 14 homens nos filmes selecionados para a competi\u00e7\u00e3o principal. Ainda insuficiente, mas indica que Fr\u00e9maux finalmente presta aten\u00e7\u00e3o a essa quest\u00e3o que antes simplesmente ignorava.<\/span><\/p>\n<h2><b>O perigo da homogeneiza\u00e7\u00e3o cultural<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Contudo, n\u00e3o podemos ignorar a melancolia diante da reduzida pluralidade de vozes. Cannes deve ser um holofote n\u00e3o apenas para produ\u00e7\u00f5es comerciais visando pr\u00eamios, mas tamb\u00e9m para as narrativas que emergem da <\/span><b>Am\u00e9rica Latina<\/b><span style=\"font-weight: 400;\">, do leste europeu, da \u00c1frica e dos confins da \u00c1sia.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Ao analisar a sele\u00e7\u00e3o completa, incluindo as sess\u00f5es especiais, de meia-noite e Cannes Premiere, percebemos que apenas 7 dos 51 filmes selecionados v\u00eam de pa\u00edses n\u00e3o-ocidentais. Essa homogeneiza\u00e7\u00e3o do discurso \u00e9 preocupante, e Fr\u00e9maux, por enquanto, parece n\u00e3o perceber o risco \u2013 ou finge n\u00e3o perceber.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Em um mundo cinematogr\u00e1fico cada vez mais diverso e descentralizado, o <\/span><b>Festival de Cannes 2025<\/b><span style=\"font-weight: 400;\"> parece nadar contra a mar\u00e9, preferindo o conforto do familiar ao desafio da descoberta. Resta saber se essa aposta em um festival mais voltado para o mainstream ocidental ser\u00e1 sustent\u00e1vel a longo prazo ou se acabar\u00e1 por diminuir a relev\u00e2ncia cultural do evento que j\u00e1 foi o farol da inova\u00e7\u00e3o cinematogr\u00e1fica mundial.<\/span><\/p>\n<h1><b>Confira a sele\u00e7\u00e3o oficial de Cannes 2025<\/b><\/h1>\n<h2><b>Palma de Ouro<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">A Simple Accident<\/span><\/i><span style=\"font-weight: 400;\">, de Jafar Panahi (Ir\u00e3 \/ Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Sentimental Value<\/span><\/i><span style=\"font-weight: 400;\">, de Joachim Trier (Noruega, Fran\u00e7a, Alemanha, Dinamarca, Su\u00e9cia, Reino Unido);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Romer\u00eda<\/span><\/i><span style=\"font-weight: 400;\">, de Carla Sim\u00f3n (Espanha, Alemanha);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Sound of Falling<\/span><\/i><span style=\"font-weight: 400;\">, de Mascha Schilinski (Alemanha);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Eagles of the Republic<\/span><\/i><span style=\"font-weight: 400;\">, de Tarik Saleh (Su\u00e9cia, Fran\u00e7a, Dinamarca, Finl\u00e2ndia);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Mastermind<\/span><\/i><span style=\"font-weight: 400;\">, de Kelly Reichardt (Estados Unidos);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Dossier 137<\/span><\/i><span style=\"font-weight: 400;\">, de Dominik Moll (Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">O Agente Secreto<\/span><\/i><span style=\"font-weight: 400;\">, de Kleber Mendon\u00e7a Filho (Brasil, Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Fuori<\/span><\/i><span style=\"font-weight: 400;\">, de Mario Martone (It\u00e1lia, Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Two Prosecutors<\/span><\/i><span style=\"font-weight: 400;\">, de Sergei Loznitsa (Let\u00f4nia, Fran\u00e7a, Alemanha, Holanda, Rom\u00eania);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Nouvelle Vague<\/span><\/i><span style=\"font-weight: 400;\">, de Richard Linklater (Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Sirat<\/span><\/i><span style=\"font-weight: 400;\">, de Oliver Laxe (Espanha, Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">La petite derni\u00e8re<\/span><\/i><span style=\"font-weight: 400;\">, de Hafsia Herzi (Fran\u00e7a, Alemanha);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The History of Sound<\/span><\/i><span style=\"font-weight: 400;\">, de Oliver Hermanus (Reino Unido, Estados Unidos);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Renoir<\/span><\/i><span style=\"font-weight: 400;\">, de Chie Hayakawa (Jap\u00e3o, Fran\u00e7a, Singapura, Filipinas, Indon\u00e9sia);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Alpha<\/span><\/i><span style=\"font-weight: 400;\">, de Julia Ducournau (Fran\u00e7a, B\u00e9lgica);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Young Mothers<\/span><\/i><span style=\"font-weight: 400;\">, de Jean-Pierre e Luc Dardenne (B\u00e9lgica);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Eddington<\/span><\/i><span style=\"font-weight: 400;\">, de Ari Aster (Estados Unidos);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Phoenician Scheme<\/span><\/i><span style=\"font-weight: 400;\">, de Wes Anderson (Estados Unidos, Alemanha).<\/span><\/li>\n<\/ul>\n<h2><b>Abertura<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Leave One Day<\/span><\/i><span style=\"font-weight: 400;\">, de Am\u00e9lie Bonin (Fran\u00e7a).<\/span><\/li>\n<\/ul>\n<figure id=\"attachment_44142\" aria-describedby=\"caption-attachment-44142\" style=\"width: 987px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\" wp-image-44142\" src=\"https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/alpha1-300x169.webp\" alt=\"'Alpha', novo filme da cineasta por tr\u00e1s de 'Titane' (Cr\u00e9dito: NEON\/Cannes\/Divulga\u00e7\u00e3o)\" width=\"987\" height=\"556\" srcset=\"https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/alpha1-300x169.webp 300w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/alpha1-150x84.webp 150w, https:\/\/news.filmelier.com\/wp-content\/uploads\/2025\/04\/alpha1.webp 680w\" sizes=\"(max-width: 987px) 100vw, 987px\" \/><figcaption id=\"caption-attachment-44142\" class=\"wp-caption-text\"><em>Alpha<\/em>, novo filme da cineasta por tr\u00e1s de <em>Titane<\/em>\u00a0(Cr\u00e9dito: NEON\/Cannes\/Divulga\u00e7\u00e3o)<\/figcaption><\/figure>\n<h2><b>Un Certain Regard<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Aisha Can&#8217;t Fly Away Away<\/span><\/i><span style=\"font-weight: 400;\">, de Morad Mostafa (Tun\u00edsia, Qatar, Egito);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">A Pale View of Hills<\/span><\/i><span style=\"font-weight: 400;\">, de Kei Ishikawa (Jap\u00e3o);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Eleanor the Great<\/span><\/i><span style=\"font-weight: 400;\">, de Scarlett Johansson (Estados Unidos);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Heads or Tails? Testa o croce?<\/span><\/i><span style=\"font-weight: 400;\">, de Matteo Zoppis e Alessio Rigo de Righi (It\u00e1lia, Estados Unidos);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Homebound<\/span><\/i><span style=\"font-weight: 400;\">, de Neeraj Ghaywan (\u00cdndia);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">L&#8217;inconnu de la Grande Arche<\/span><\/i><span style=\"font-weight: 400;\">, de St\u00e9phane Demoustier (Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Karavan<\/span><\/i><span style=\"font-weight: 400;\">, de Zuzana Kirchnerova (Rep\u00fablica Tcheca);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Last One for the Road Le citt\u00e0 di pianura<\/span><\/i><span style=\"font-weight: 400;\">, de Francesco Sossai (It\u00e1lia);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Meteors M\u00e9t\u00e9ors<\/span><\/i><span style=\"font-weight: 400;\">, de Hubert Charuel (Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">My Father&#8217;s Shadow<\/span><\/i><span style=\"font-weight: 400;\">, de Akinola Davies Jr (Reino Unido, Irlanda, Nig\u00e9ria);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Once Upon a Time in Gaza<\/span><\/i><span style=\"font-weight: 400;\">, de Tarzan Nasser e Arab Nasser (Palestina, Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Mysterious Gaze of the Flamingo<\/span><\/i><span style=\"font-weight: 400;\">, de Diego C\u00e9spedes (Chile);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Pillion<\/span><\/i><span style=\"font-weight: 400;\">, de Harry Lighton (Reino Unido);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Plague<\/span><\/i><span style=\"font-weight: 400;\">, de Charlie Polinger (Estados Unidos);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Promised Sky<\/span><\/i><span style=\"font-weight: 400;\">, de Erige Sehiri (Tun\u00edsia);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Urchin<\/span><\/i><span style=\"font-weight: 400;\">, de Harris Dickinson (Reino Unido).<\/span><\/li>\n<\/ul>\n<h2><b>Fora de competi\u00e7\u00e3o<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Mission: Impossible \u2013 The Final Reckoning<\/span><\/i><span style=\"font-weight: 400;\">, de Christopher McQuarrie;<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Vie priv\u00e9e<\/span><\/i><span style=\"font-weight: 400;\">, de Rebecca Zlotowski;<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Richest Woman in the World<\/span><\/i><span style=\"font-weight: 400;\">, de Thierry Klifa;<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Coming of the Future<\/span><\/i><span style=\"font-weight: 400;\">, de C\u00e9dric Klapisch.<\/span><\/li>\n<\/ul>\n<h2><b>Cannes Premiere<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Amrum<\/span><\/i><span style=\"font-weight: 400;\">, de Fatih Akin;<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Splitsville<\/span><\/i><span style=\"font-weight: 400;\">, de Mike Corvino;<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Disappearance of Josef Mengele<\/span><\/i><span style=\"font-weight: 400;\">, de Kirill Serebrennikov;<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Orwell<\/span><\/i><span style=\"font-weight: 400;\">, de Raoul Peck;<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Wave<\/span><\/i><span style=\"font-weight: 400;\">, de Sebasti\u00e1n Lelio;<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Connemara<\/span><\/i><span style=\"font-weight: 400;\">, de Alex Lutz.<\/span><\/li>\n<\/ul>\n<h2><b>Sess\u00f5es Especiais<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Magnificent Life of Marcel Pagnol<\/span><\/i><span style=\"font-weight: 400;\">, de Sylvain Chomet (Fran\u00e7a);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Bono: Stories of Surrender<\/span><\/i><span style=\"font-weight: 400;\">, de Andrew Dominik (Austr\u00e1lia, Estados Unidos);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Tell Her That I Love Her<\/span><\/i><span style=\"font-weight: 400;\">, de Romane Bohringer (Fran\u00e7a).<\/span><\/li>\n<\/ul>\n<h2><b>Sess\u00f5es da Meia-Noite<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">The Exit 8<\/span><\/i><span style=\"font-weight: 400;\">, de Genki Kawamura (Jap\u00e3o);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i><span style=\"font-weight: 400;\">Dalloway<\/span><\/i><span style=\"font-weight: 400;\">, de Yann Gozlan (Fran\u00e7a, B\u00e9lgica);<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><i>Sons of the Neon Night<\/i>, de Juno Mak (Hong Kong, China).<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Analisamos a sele\u00e7\u00e3o oficial do Festival de Cannes 2025, que aposta no conforto do familiar em vez do risco da descoberta.<\/p>\n","protected":false},"author":21,"featured_media":49652,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3558,3482],"tags":[3612,3559,3561,3562,3917],"class_list":["post-49650","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cannes-br","category-filmes-br","tag-cannes-br","tag-cannes-2025-br","tag-festival-cannes-br","tag-o-agente-secreto-br","tag-thierry-fremaux-br"],"acf":{"subtitulo":"Em Cannes 2025, Thierry Fr\u00e9maux aposta no conforto do familiar em vez do risco da descoberta.","id_ator":"nm0000134"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.1.1 - 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