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There may be no British film in the main competition for the Palme D'Or this year, but that has not stopped a Yorkshirewoman from becoming the toast of Cannes. Clio Barnard's film The Selfish Giant has already been described as "hauntingly perfect" and "jaggedly moving" by critics as it premieres in the Director's Fortnight section of the film festival, with the director herself hailed as a significant new voice in British cinema. And, despite gloominess about the complete absence of a UK presence from the main Cannes competition lineup, Britons should embrace their native film industry, according to Barnard.
While "the rest of the world responds to it", she said, there is "perhaps a bit of modesty" when it comes to the British embracing their own cinematic tradition. She named her personal galaxy of admired British directors: "[The late] Alan Clarke is a brilliant filmmaker, as are Penny Woolcock, Ken Loach, Lynne Ramsay, Andrea Arnold β¦ I think we have a lot to be proud of and I think we should be holding our heads up high.
The Selfish Giant, a loose interpretation of Oscar Wilde's short story, set on the housing estates of Bradford, is Barnard's second feature film. Her first was 's lauded The Arbor, a troubling, formally experimental documentary about the short life of Bradford playwright Andrea Dunbar, author of Rita, Sue and Bob Too, in which actors lipsynched to audio interviews with Dunbar's family and friends.
The Arbor was supported by Artangel , the arts commissioning body that produced Rachel Whiteread's House , her cast of a condemned terraced home, and Roger Hiorns's Seizure , an empty council flat encrusted with cobalt-blue crystals. Like Steve McQueen, whose Hunger was a breakthrough British film at Cannes in , and who was also supported by Artangel earlier in his career, the year-old Barnard comes from a visual art background, with previous work having been shown at the Museum of Modern Art in New York and the Tate.
She is also a reader in film studies at the University of Kent. Tracy O'Riordan, producer of both Barnard's films, admitted she had been initially nervous about the experimental proposition of The Arbor β which, when she came to the project, consisted only of 90 hours of audio recordings.