This was followed by A Matter of Resistance by Jean-Paul Rappeneau, The Young Girls of Rochefort by Jacques Demy and Luis Buñuel’s Belle de jour.įrom then on, hers will be a path of glory, studded with masterpieces and commitments that will shape the portrait of a star as well as that of a woman of convictions.
The following year, Repulsion by Roman Polanski won the Silver Bear in Berlin. Deneuve embodies in her very own way the richness of the cinema that the Festival wants to defend: auteur films but also quality popular films.įour years before 1968, Catherine Deneuve illuminated Jacques Demy’s The Umbrellas of Cherbourg, which won the Palme d’or in 1964. An icon who has never stood still and has kept her art alive.
For more than 60 years, the greatest French star has never stopped shooting, reinventing herself, experimenting, daring to do counterintuitive work or first films. Her collaborations are in the pantheon of immense filmmakers of yesterday and today. She is the muse of Jacques Demy, Agnès Varda, Luis Buñuel, François Truffaut, Marco Ferreri, Manoel de Oliveira, André Téchiné, Emmanuelle Bercot or Arnaud Desplechin. Without compromise and always in tune with her convictions, even if it means going against the grain of the times. The actress of Peau d’Âne is an embodiment of cinema, far from what is conventional or appropriate. The heart of the 7th Art – of its artists, professionals, amateurs, press – beats like a drum, to the rhythm of the urgency that its eternal nature imposes.
Like the heart of cinema that the Festival de Cannes celebrates every year: its lively and embodied pulse can be heard everywhere. Her heart beats frantically, hurriedly, passionately. She plays Lucile, who leads a worldly and superficial life, tinged with ease and a taste for luxury. Actress Catherine Deneuve is standing on Pampelonne beach, near Saint-Tropez, for the shooting of La Chamade by Alain Cavalier, adapted from the novel by Françoise Sagan.
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