Out of festivals the tone is more entertaining

Cannes, it's over. The red carpet is tidy, festival-goers are tired, and honoured films await re-entry: on 30 August for the grand prize of the jury, "Flanders" of Bruno Dumont, and on 8 November for the palme d'Or, "the wind rises" Ken Loach. This week where film is recovering slowly in legs, with nine news only, can still discover two films of the Festival. First a mischievous documentary, presented in official selection out of competition: "Najac, you here the land", second component by Jean - Henri Meunier to the Aveyron village where he raises his suitcases between two trips to the heart of a peaceful rural France which is still with a smile of globalization. Then came the section Un certain regard, a sensitive fiction documentary resonance, "Bled number one", where Rabah Ameur-Zaïmeche takes Kamel, the hero of 'wesh wesh' (his first feature film), the city of Montfermeil in the Algerian village of its roots. He discovered a country both near and abroad with its warm convivial traditions, its fundamentalist violence and barbarism blind to a machismo which leads women to the Madness: a generous, perceptive, deeply humanist film.

Forget Cannes: is Berlin, where its Director, British Michael Winterbottom, won silver last February bear, that happens to us film clash of the week: "The Road to Guantanamo". A mixture, again, of documentary and fiction, to reconstruct the real plight of three young British of Pakistani origin parties in Karachi for a wedding in September 2001 and which, taken in Afghanistan for members of Al-Qaida, found themselves in the sinister camp at Guantanamo Bay, where they languished for two years. A narrative factual mélo without pathos, and all the more impressive.

Out of festivals, the tone is more entertaining. Thanks firstly to the light-hearted "American Dreamz" of Paul Weitz, sombre satire of the drifts of television (with Hugh Grant in host ultra-famous and obnoxiously cynical), havoc of the hype on the dreams of the young American (e) s of today, and... the inadequacies of the White House (occupied here by Dennis Quaid, disturbing that inconsistent also uncultivated President). And the subtle romantico-melancholic one-on-one of "Conversation (s) with a woman" of an another American, Hans Canosa. Two early French films complement the table: "the passenger of the summer", from Florence Moncorgé-Gabin (daughter of John) chromo old cultivating without remorse clichés, with Catherine Frot in seduced lonely farmer in Normandy of the post-war period, by its beautiful farm labourer, and "The House of happiness", comedy gently creaking of Dany Boon, who interprets himself a bank employee in the spiral of debt after the purchase of a home renovation site turns to the disaster. Finally, two reissues deserve the detour: "Settlement of accounts at OK Corral", mythical Cowboy John Sturges with Burt Lancaster and Kirk Douglas, and "Gilda" of Charles Vidor, with the sublime Rita Hayworth.

Always on display

Return to Cannes, with the inevitable and beautiful "Volver" of Pedro Almodovar, rewarded for its script and its five actresses, the intelligent "Caiman" antiberlusconien of Nanni Moretti, and Marie-the suave "Antoinette", lavishly rose bonbon, of Sofia Coppola. Back to our little laughing political landscape with the "docu-funny" of Karl zero and Michel Royer, "in the skin of Jacques Chirac," where the imitator Didier Gustin commented with the voice of the President records of forty years of political life and denials large or small. And back in reverse of the American dream with the minimalist and poignant "Bubble" of Steven Soderbergh, in America's deep diving eroded of lack and solitude...

On the small screen

Friday: "an American well quiet", in Joseph Mankiewicz, based on Graham Greene (0 h 30, Arte). Saturday: "Underground", epic and thunderstrike fresco of Emir Kusturica, palme d'Or 1995 (20 h 45, GST Home Cinema). Sunday: "the Colonel Chabert", Yves Angelo, sage adaptation of the novel by Balzac (2215, Arte).