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Breillat","cannes-2023-lété-dernier-de-catherine-breillat","https://www.critikat.com/wp-content/uploads/2024/05/Cannes-2023-LEte-dernier-de-Catherine-Breillat.mp3",24910222,623,"2023-05-26T12:29:37Z",{"_59":379,"_44":380,"_46":381,"_42":382,"_73":74,"_75":383,"_77":384,"_79":385,"_81":82},"c91001ae-1415-4dd0-82e9-df5a0956db50","Cannes 2023 — L’Enlèvement de Marco Bellocchio","cannes-2023-lenlèvement-de-marco-bellocchio","https://www.critikat.com/wp-content/uploads/2024/05/Cannes-2023-LEnlevement-de-Marco-Bellocchio.mp3",26278222,657,"2023-05-25T12:30:17Z",{"_59":387,"_44":388,"_46":389,"_42":390,"_73":74,"_75":391,"_77":392,"_79":393,"_81":82},"2f689275-27fc-4b1a-a61c-df6d627602e7","Cannes 2023 — Asteroid City de Wes 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Dardenne","cannes-2022-tori-et-lokita-de-jean-pierre-et-luc-dardenne","https://www.critikat.com/wp-content/uploads/2024/05/Cannes-2022-Tori-et-Lokita.mp3",23813902,595,"2022-05-26T12:38:42Z",{"_59":523,"_44":524,"_46":525,"_42":526,"_73":74,"_75":527,"_77":528,"_79":529,"_81":82},"320cd9b2-728c-4eed-ba76-760c1fec886d","Cannes 2022 — Les Crimes du futur de David Cronenberg","cannes-2022-les-crimes-du-futur-de-david-cronenberg","https://www.critikat.com/wp-content/uploads/2024/05/Cannes-2022-Les-Crimes-du-futur.mp3",24799822,620,"2022-05-25T12:39:10Z",{"_59":531,"_44":532,"_46":533,"_42":534,"_73":74,"_75":535,"_77":536,"_79":537,"_81":82},"25cbfd92-dc82-4b9b-82ab-efe0ec50d062","Cannes 2022 — De Humani Corporis Fabrica de Lucien Castaing-Taylor et Véréna 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Miller","cannes-2022-trois-mille-ans-à-tattendre-de-george-miller","https://www.critikat.com/wp-content/uploads/2024/05/Cannes-2022-–-Trois-mille-ans-a-tattendre-de-George-Miller.mp3",28209742,705,"2022-05-22T12:40:32Z",{"_59":555,"_44":556,"_46":557,"_42":558,"_73":74,"_75":559,"_77":560,"_79":561,"_81":82},"de0d3632-fbc0-47d2-8b23-716bb38578bc","Cannes 2022 — EO de Jerzy Skolimowski","cannes-2022-eo-de-jerzy-skolimowski","https://www.critikat.com/wp-content/uploads/2024/05/Cannes-2022-–-EO-de-Jerzy-Skolimowski.mp3",22668622,567,"2022-05-21T12:41:27Z",{"_59":563,"_44":564,"_46":565,"_42":566,"_73":74,"_75":567,"_77":568,"_79":569,"_81":82},"5f5024dc-e34c-42de-8200-f72213ab4c08","Cannes 2022 — Top Gun : Maverick de Joseph Kosinski","cannes-2022-top-gun-maverick-de-joseph-kosinski","https://www.critikat.com/wp-content/uploads/2024/05/Cannes-2022-–-Top-Gun-Maverick-de-Joseph-Kosinski.mp3",26168782,654,"2022-05-20T12:42:01Z",{"_59":571,"_44":572,"_46":573,"_42":574,"_73":74,"_75":575,"_77":576,"_79":577,"_81":82},"955bbe7c-66eb-4ad1-807e-8d6de382702a","Cannes 2022 — La Femme de Tchaïkovski de Kirill Serebrennikov","cannes-2022-la-femme-de-tchaïkovski-de-kirill-serebrennikov","https://www.critikat.com/wp-content/uploads/2024/05/Cannes-2022-–-La-Femme-de-Tchaikovski-de-Kirill-Serebrennikov.mp3",22924942,573,"2022-05-19T12:42:23Z",{"_59":579,"_44":580,"_46":581,"_42":582,"_73":74,"_75":583,"_77":584,"_79":585,"_81":82},"3e22ff8c-ea4b-434c-b960-13fb66bd1ce9","Hatari — Contes du hasard et autres 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Pour ce dernier épisode d’À l’ombre du festival, notre podcast d’entretiens cannois, Marin Gérard et Pierre-Jean Delvolvé commentent le palmarès de la compétition.

Disponible également sur Spotify, Deezer, Apple Podcasts et Pocket Casts.

Enregistrement et montage : Marin Gérard.

Générique : Emile Petitperrin.

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À l’ombre du festival — Commentaire du palmarès

Episode Description

Never lose your place, on any device