The return of Cronenberg marks a full Cannes without any Spanish film

• Berlinale The Berlinale surrenders to 'Alcarràs', the new and beautiful prodigy by Carla Simón, the director of 'Summer 1993'

• Cannes 2021 'Titane' blows up the Palme d'Or with justice and great pleasure

Rumors say that the presidency of the Cannes Film Festival, which opens on May 17, will be held by

.

But they are rumours.

Nice, but rumours.

And here, and for the moment, the (possible) good news for Spanish cinema ends.

At noon on Thursday, the list of films that will make up the official section and the parallel sections, including

and not a trace of the Spanish production, was announced.

Before the reading in Paris of the artistic director

in front of the president

in what will be his last intervention, there was speculation about the possibility that

all with finished film.

Well no.

There has been no way.

The possibility of continuing the good omens of the Sundance, Rotterdam and Berlin festivals, all with Spanish films and in the last case with the Golden Bear included for

, by Carla Simón, vanished.

In any case, chauvinisms aside, the 75th edition of the Cannes Film Festival, which will take place between

is announced to be less than full.

It will be the first edition in a rigorous post-pandemic sense.

Last year's was still weighed down by the cumbersomeness of a protocol with saliva tests every 48 hours for everyone.

Among the most notable presences,

who returns to the official section with '

eight years after presenting

'.

It is a futuristic drama that imagines a painless society with humans already turned into something else.

Viggo Mortensen and Léa Seydoux lead the cast.

And a fact: it was Cronenberg as the president of the jury who denied the Palme d'Or to Pedro Almodóvar.

Let's imagine that the speculations are confirmed and Penelope has just become president.

Call it morbid.

For the rest, the official section that will be inaugurated with the zombie movie

by

will see up to four palm d'or parade: the Belgians

(who count quadruple, since they have two and there are two), the Japanese

the Swedish

(who presents a political fable with the soul of a comedy called

') and the Romanian

.

Next to him,

and his personal reading of his childhood in '

',

and her second film of the year after the one presented in Berlin,

or

are other luxury names that will compete to win the most prestigious award of the year.

But Cannes is also a red carpet.

And here the spotlight is on a

who will be honored for being who he is and for piloting what he pilots in the unthinkable (and even impossible) return to

Joseph

Not far away, the display promised by

with his personal, baroque, and in all probability scintillating re-reading of Elvis Presley in '

' will make the flashes happy.

Out of competition, whether in the Cannes Premier section or simply in special screenings, it's a good idea not to miss the documentary promised by

(the one who isn't Joel) about the one that came before Elvis in

Also, being in these times, probably the most relevant film of all is

, signed by the Ukrainian

No one like him has anticipated and portrayed the madness that occupies every newscast in the world today.

's return

with a fantasy titled '

;

last year

with

;

' return

to his most intimate obsessions with

or the film by exiled Russian

'

' would be other titles not to be missed.

And David Lynch's secret movie... no trace.

2022 CANNES

Competition

'The Almond Tree', by Valeria Bruni Tedeschi (France)

'Armageddon Time', by James Gray (USA)

'Boy From Heaven', by Tarik Saleh (Sweden)

'Broker', by Kore-eda Hirokazu (Japan)

'Brother and Sister', by Arnaud Desplechin (France)

'Close', by Lucas Dhont (Belgium)

'Crimes of the Future', by David Cronenberg (Canada)

'Decision to Leave', by Park Chan-Wook (South Korea)

'Eo' OR 'Hi-Han', by Jerzy Skolimowski (Poland)

'Holy Spider," by Ali Abbasi (Iran)

'Leila's Brothers', by Saeed Roustaee (Iran)

'Nostalgia', by Mario Martone (Italy)

'RMN', Cristian Mungiu (Romania)

'Showing Up', by Kelly Reichardt (USA)

'Stars at Noon', by Claire Denis (France)

'Tchaïkovski's Wife', by Kirill Serebrennikov (Russia)

'Tori and Lokita', by Jean-Pierre Dardenne and Luc Dardenne (Belgium)

'Triangle of Sadness', by Ruben Östlund (Sweden)

A CERTAIN REGARD

"All the People I'll Never Be" OR "Retour à Séoul," Davy Chou (Cambodia)

"Beast," Riley Keough and Gina Gammell (US)

"Burning Days," Emin Alper (Turkey)

"Butterfly Vision," Maksim Nakonechnyi (Ukraine)

"Corsage," Marie Kruetzer (Austria)

"Domingo and the Mist," Ariel Escalante Meza (Costa Rica)

"Joyland," Saim Sadiq (Pakistan)

"Metronom," Alexandru Belc (Romania)

"Plan 75," Hayakawa Chie (Japan)

"Rodeo," Lola Quivoron (France)

"Sick of Myself," Kristoffer Borgli

"The Silent Twins," Agnieszka Smocynska (Poland)

"The Stranger," Thomas M. Wright

"Flown Land," Hlynur Pálmason (Iceland)

"The Worst" OR "Les Pires," Lise Akora and Romane Gueret (France)

OUT OF COMPETITION

"Elvis," Baz Luhrmann (US-Australia)

"Final Cut" OR "Z (Comme Z)," Michel Hazanvicius (France) - OPENER

"Mascarade," Nicolas Bedos (France)

"November," Cedric Jimenez (France)

"Three Thousand Years of Longing," George Miller (Australia)

"Top Gun: Maverick," Joseph Kosinski (US)

MIDNIGHT PASSES

"Fumer Fait Tousser," Quentin Dupieux (France)

"Hunt," Lee Jung-Jae (S.Korea)

"Moonage Daydream," Brett Morgen (US)

SPECIAL PASSES

"All That Breathes," Shaunak Sen (India)

"The Natural History of Destruction," Sergei Loznitsa (Ukraine)

"Jerry Lee Lewis: Trouble in Mind," Ethan Coen (US)

CANNES PREMIERE

"Dodo," Panos H. Koutras (Greece)

"Irma Vep," Olivier Assayas (France)

"Nightfall," Marco Bellocchio (Italy)

"Nos Frangins," Rachid Bouchareb (France)

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