FCAD 2025 - Kim Novak's Vertigo Presentation скачать в хорошем качестве

FCAD 2025 - Kim Novak's Vertigo Presentation

Deauville, Deauville International Center, September 6, 2025 On Saturday, September 6, 2025, at the Deauville International Center, Deauville organized an event that felt less like a ceremony and more like a collective thrill for film lovers: a large-scale tribute to Kim Novak, who was awarded the festival's Icon Award, at an event officially announced as taking place in the presence of Kim Novak and filmmaker Alexandre O. Philippe. The 51st edition of the Deauville festival took place from September 5 to 14, 2025, and this date had a symbolic effect: the festival had barely opened its doors when the audience was already being asked to look to the past, not out of nostalgia, but because there are still living witnesses to the Hollywood machine and its magic, and Kim Novak remains one of the few people who can speak from within the myth. The emotional power of the tribute comes from the undeniable fact that Vertigo is not just a famous film: it is a prism through which Kim Novak's career, image, and very autonomy have been constantly refracted. In Alfred Hitchcock's 1958 masterpiece, she embodies the cruel elegance of reinvention: Judy forced to become Madeleine, then transformed again by the detective's obsession, a transformation on screen that disturbingly reflects what the studio era demanded of its actresses, down to hair color, posture, public image, and relentless control of desire. That is why Deauville's Icon Award is not seen as a polite distinction for her entire career, but as a public correction, a standing ovation for the woman behind the silhouette, at a time when she can still receive it and respond to it. The festival itself presented her as the guest of honor at its 51st edition, highlighting her unique place as a glamorous emblem of Hollywood's golden age, who also refused to remain a product indefinitely. And there is a quiet irony that Deauville seems to understand: the film that forever froze Kim Novak in the collective imagination is also the one that most clearly dramatizes the cost of being frozen—by men, by studios, by audiences, by history. What made September 6, 2025 particularly significant was that Deauville was not acting in isolation; it caught up with Kim Novak in mid-flight, almost like a relay between the European temples of cinema. A few days earlier, the 82nd Venice Film Festival had awarded her the Golden Lion for her lifetime achievement, an official and institutional crowning that Venice had announced with the same key detail that Deauville had highlighted: the world premiere of Alexandre O. Philippe's documentary, Kim Novak's Vertigo, made in exclusive collaboration with the actress. The timing and setting chosen by Venice are significant, as they confirm that this was not just a chance media tour, but a deliberate refocusing of Kim Novak on her own story, with the documentary functioning both as a cinematic essay and a personal counter-narrative after decades of being more talked about than listened to. And since the program for the Icon Award ceremony in Deauville explicitly links her presence to that of Alexandre O. Philippe, the festival effectively transforms this tribute into a two-part ritual: celebrating the icon, then questioning what this iconography has done to the person and how she has survived it. The documentary itself is not just another festival documentary, and the verifiable signs are already there: it was presented out of competition in Venice on September 2, 2025, and critical reception quickly crystallized. Rotten Tomatoes shows a Tomatometer rating of 92% based on reviews from 12 critics. But what's more interesting, in the spirit of Deauville, is how perfectly this film fits the festival's specific brand image, which presents itself as a love letter to American cinema: Deauville has always thrived on the friction between Hollywood legend and intimate closeness, between the aura of the red carpet and the suddenly human moment when a voice breaks or a thought weighs heavier than expected. Here, Kim Novak's Vertigo becomes a kind of second stage, a place where Kim Novak can express how she felt about studio control at the time and why her departure was not a romantic whim, but a form of survival, which the Venice media coverage and official announcements highlight when describing her fiercely independent journey beyond the industry. That's why, when Deauville puts the documentary in the spotlight alongside the Icon Award, it's not for programming convenience, but to affirm that the tribute is only complete when the narrative belongs, at least in part, to the person being celebrated.