Mickey and the Bear – Cannes Acid Selection
Mickey and the Bear
Un film de Annabelle Attanasio États-Unis – 2019 – 89 min
Mickey Peck, une adolescente du Montana, a la lourde responsabilité de s’occuper de son père, un vétéran accro aux opiacés. Quand l’opportunité se présente de quitter pour de bon le foyer, elle fait face à un choix impossible…
Mickey Peck, headstrong teen from Montana, is faced with the responsibility to take care of her opioid- addicted veteran father. When she receives the opportunity to leave her home for good, she must make an impossible decision…
Avec :
Camila Morrone , James Badge Dale , Calvin Demba , Ben Rosenfield et Rebecca Henderson
À PROPOS DE MICKEY AND THE BEAR
Pour survivre, faut-il s’enfuir ? Creusant le sillon d’un cinéma indépendant américain soucieux de se confronter au réel, la jeune cinéaste Annabelle Attanasio met en récit le désir d’émancipation d’une adolescente. Situé au fin fond du Montana, ce premier long-métrage déploie une trajectoire qui multiplie les fausses pistes, sachant éviter, comme son héroïne, les écueils d’un parcours où tout serait joué d’avance. Porté par une mise en scène élégante et épurée, incarné par une comédienne fascinante, ce premier long- métrage questionne la place de la femme dans une société patriarcale. Les figures de la virilité sont ainsi mises à jour sans ostentation, mais avec un souci critique. Ici le stress post-traumatique du soldat, là les armes à feu ou encore la question de l’héritage familial. C’est face à toutes ces brutalités qu’on ne doit jamais abdiquer pour vivre sa vie, pour devenir l’auteur de son propre destin.
Savoir penser son époque sans être didactique, savoir subtilement mettre à nu la violence du monde sans en être fasciné et croire que par le romanesque tout peut être divulgué. Voici, sans doute, la force intime de ce film qui nous bouleverse.
Must one flee in order to survive? Furrowing the lands of a certain independent American cinema concerned with confronting reality, the young filmmaker Annabelle Attanasio tells a tale of a teenager’s desire to emancipate. Set in the depths of Montana, this first feature film unravels a journey, which accumulates false leads while astutely avoiding, along with its heroine, the pitfalls of a path where all would be known from the onset. Carried by an elegant and pared down mise en scène, embodied by a fascinating actress, this first film questions the place given to women in a patriarchal society. Figures of virility are unveiled without ostentation, but from a critical standpoint. Here the PTSD in a soldier, there fire arms or even the question of a family inheritance. Faced with all these brutalities, one must never abdicate. To live one’s life. To become the sole author of one’s destiny.
Thinking the era without being didactic. Knowing how to uncover the violence of the world without succumbing to fascination. Believing that through the strength of fiction all can be imparted. There lies the intimate force of this film, which so overwhelms us.
LA PROGRAMMATION ACID CANNES 2019 :
ACID filmmakers are thrilled to present this year in Cannes, a program of 9 feature-length films of which 7 are first time features. Films will be shown in the presence of the film crews and of their supporting filmmakers from ACID.
5 fictions and 4 documentaries, 4 of which were directed or codirected by women.
This program is enhanced by a focus on Argentinian cinema, ACID TRIP#3ARGENTINE, in partnership with Argentinian filmmakers of the PCI.
« As the world faces deep changes, this 2019 ACID program honors vanishing points and celebrates paths with which destinies are built, where bodies instead of disappearing or submitting, assert their presence, as a starting point for organized resistance.
Tales of fantasy, emancipatory fables, documentary realism? The cinema on which we thrive defies categories, articulates unseen or forgotten esthetical blends. Characters do not so much transcend their destiny to reach for the universal, rather they embody their destiny within their singularity and intensity. Granting us privileged access to what is strange, foreign. A curious paradox? Rather the means for us filmmakers, forever and again, to share the world. »
Programmers filmmakers 2019
Sylvie Ballyot, Aurélia Barbet, Marta Bergman, Michaël Dacheux, Marina Déak, Delphine Deloget, Jean-Louis Gonnet, Diego Governatori, Hanna Ladoul, Marco La Via, Vladimir Perišić, Clément Schneider, Idir Serghine, Christian Sonderegger, Laure Vermeersch.
