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Designated with the “Cannes Label” quality mark, Dani Rosenberg’s full-length debut film is an intriguing collage of a politically saturated storyline, slick metafiction, and archival family recordings. It is a story about a director who makes a film with his family members as main characters, but also a story about a relationship of the character with his dying parent, which is especially poignant also seeing as the passing of the author’s father is gloomily interwoven with events on the screen. The title “The Death of Cinema and My Father Too” can also be interpreted in the following way: as long as the cinema lives, so does my father. Just like in the case of one of the scenes in Krzysztof Kieślowski’s “Camera Buff”, here as well the recordings turn out to be a way of prolonging somebody’s life. The death of the cinema, which has been prophesized by filmmakers and theoreticians with disquieting frequency, is only frightening when it entails the loss of a close person.

The mix of family recordings and fiction from which emerges a story about a director struggling to reconcile himself to the fact that his father is slowly dying has been recognised by the Cannes selection committee.

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