Cannes Correspondences #6: Teenage Martyrs and Lighthouse Keepers

The Notebook is covering Cannes with an on-going correspondence between critic Leonardo Goi and editor Daniel Kasman.JeanneDear Danny,The day I first met Bruno Dumont, a blistering hot August afternoon in a hotel perched atop the hills of Locarno, was also the day before production for his latest film, Jeanne (Joan of Arc), was due to kick off. A sequel to his 2017 Jeannette, a musical period-piece on the childhood of Joan of Arc which had world premiered in Cannes and had continued its festival tour with a bow in the Swiss Alps, Jeanne had big shoes to fill. Scored by French electro-musician Igorrr and choreographed by Philippe Decouflé, Jeannette dwelled into the formative years of the 15th century French martyr through the most unlikely—and original—rubric imaginable: heavy metal music. For a heroine incessantly dissected and celebrated by decades of cinema history (from Carl Theodor Dreyer’s 1928 The Passion of Joan of Arc
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