‘Cane Fire’ Film Review: Searing Doc Examines Hawaii’s Exploitation by Developers, Corporations, and Hollywood

did make the movie more engaging, but this is simply as engaging as “Zero Contact” can get.What does stand out in “Zero Contact” is the score by Anders Niska and Klas Wahl, but not because it tells the story very well. Instead, it creates an incessant filter between the audience and the film, so that every moment in the narrative has to fight its way to the audience through a hazy aural mishmash of non-specific tension.

Here’s a fun bit of symmetry: Of the four French titles competing for this year’s Palme d’Or, the first to screen was “Brother and Sister” and the last was “Mother and Son.” (Presumably daughters and grandparents will get their due next year.) Of the two, “Mother and Son” director Léonor Serraille bests her colleague Arnaud Desplechin in the family-saga sweepstakes, delivering a decade-spanning immigration drama that plays on the most intimate of registers.The film closed out the Cannes competition on Friday, providing it an auspicious berth. This year’s jury will go into deliberations with actress Annabelle Lengronne fresh in mind; should the actress win, she won’t have far to travel.She isn’t entirely the lead, as the triptych follows a Franco-Ivorian family in chapters dedicated to each member.

Not many songs have been covered by so many artists like Leonard Cohen’s song “Hallelujah.” First recorded in 1984 on the underwhelmingly received Various Positions album, “Hallelujah” received little success upon its release but eventually found fame when Jeff Buckley and John Cale covered the song. However, many people know the song from the Dreamworks’ movie, “Shrek,” covered by Rufus Wainwright.

Observed in isolation, detached from the body or in extreme close-ups, organs and other vital viscera resemble moist masses of soft tissue plucked from alien landscapes in the unflinchingly immersive medical documentary “De Humani Corporis Fabrica.” Alternating between footage from cameras inserted into patients for the purpose of treating ailments and grisly shots from the operating room, directors Verena Paravel and Lucien Castaing-Taylor, the team behind the striking non-fiction film on fishing “Leviathan,” apply their fascination for uncanny imagery with relativist intent to the inner workings of French hospitals and, in turn, the human body.

For decades, Italian filmmakers dominated Cannes.If the 1960s saw Federico Fellini, Michelangelo Antonioni and Luchino Visconti reign supreme, somehow the 1970s were even richer. Elio Petri and Francesco Rosi won shared top prizes in 1972, while for two consecutive years later that decade the Taviani brothers and then Ermanno Olmi hoisted Palmes across a border that sits just 40 miles away.This year’s lone competition title from an Italian director (the only other Italian language film, “The Eight Mountains,” comes courtesy of two Belgians), Mario Martone’s “Nostalgia” will probably not break that particular drought, but the Neapolitan director can take solace in another modest honor: Telling a story about mothers and sons, about gangsters and priests, and about a peculiar kind of longing for the past in a place where little has changed for hundreds of years, “Nostalgia” is a nigh perfect candidate to wave il Tricolore.Taking a thin amount of plot and stretching it as far and wide as it can go, the film itself is far from perfect, but it does benefit from “The Traitor” star Pierfrancesco Favino’s terrific lead performance as a man who learns the hard way that there’s no going home again.After forty years abroad, Felice (Favino, of course) returns to his native Naples a stranger in a familiar land.

South Korea may have made big inroads on American TV recently with “Squid Game” and “Pachinko,” and the country’s intriguing film and television industry also has a stronger-than-usual presence at this year’s Cannes Film Festival. “Squid Game” star Lee Jung-jae’s political thriller “Hunt” premiered as a midnight screening early in the festival; Davy Chou’s “Return to Seoul” landed a pre-Cannes deal with Sony Pictures Classics and is one of the hits of the Un Certain Regard sidebar; and Japanese director Hirokazu Kore-eda is in the main competition with “Broker,” his first film shot in South Korea in the Korean language.

PrEP or Cherry Jones, or they object to turning fellatio into physical comedy, that’s their own problem.

unleashed smoke bombs and unrolled a list of murdered women just before the world premiere of Ali Abbasi’s serial-killer drama “Holy Spider.” And if the demonstration’s cause was only too just, its context was all too uncommon, since these protesters were seemingly there to support, not oppose, Abbasi’s violent and disturbing film. To follow up his Un Certain Regard-winning “Border,” the Iran-born Denmark-based director has burrowed into a chilling bit of true-crime from his native country, reimagining the 2001 case of a religious fanatic who slaughtered 16 young women and using that premise to explore systemic misogyny writ large. He does so by turning the murder thriller upside down, telling a story where the killer’s identify is never in doubt and his intentions are always crystal clear, and where the greatest source of tension comes from wondering whether anyone in power will lift a finger to stop him. The killer in this case is middle-aged construction worker Saeed (Mehdi Bajestani).

Valeria Bruni Tedeschi’s “Forever Young” is a fictionalised account of her time at Les Amandiers, a prestigious acting school in Nanterre on the outskirts of Paris. As well as drawing on her own memories of student-dom in the mid-1980s, she and her co-writers, Noémie Nvovsky and Agnes De Sacy, interviewed other people who studied alongside her, and so their tragedy-tinged comedy drama, which is in Competition at Cannes, should have all the unruly specificity of real life.

so much fun to make,” Coen said when he introduced the film before its Cannes Film Festival premiere in the Salle Bunuel on Sunday night. “I know people always say that, but in this case, it’s true.

this long in an industrial bakery watching the two managers fill out EU grant applications?Soon enough the corners come together and the shape becomes more clear as the part-Roma, part-German Matthias (Marin Grigore) returns to his native Transylvania town either to make amends with his estranged wife Ana (Macrina Barladeanu) or, failing that, to rekindle the flame with former mistress Csilla (Judith State). By way of filial duties, Matthias also has to deal with an ailing father (whose need for an MRI — RMN in Romanian — gives the film its title) and a son too shell-shocked by that unknown forest sight to speak.But the film is just as much Csilla’s story, following the native Hungarian as she carves out a comfortable middle-class existence, devoting herself to her EU-assisted startup and sacrificing whatever personal projects she might have in order to gain affluence in a post-industrial town whose long-shuttered mine has left both water source and the hearts of the men who lost their jobs poisoned for good.Even as the “who” comes sharper into focus, we still can’t quite crack the “why.” Why do we follow Matthias through a seemingly aimless series of encounters as he and his fellow townsfolk debate the finer points of Romanian history? Why do we spend so much time with Csilla as she posts a series of job listings (“Don’t mention the salary,” advises her boss) on every door in town?  And why the urgent need to underline every character’s particular ethnic background?The answer — call it a skeleton key — comes at the one-hour mark upon the arrival of three Sri Lankan migrants to fill the still-vacant posts.

Casey Affleck and Caylee Cowan don’t leave each others’ side while walking the red carpet at the 2022 Cannes Film Festival held at Palais des Festivals on Friday (May 20) in Cannes, France.

Jennifer Lopez bursts into tears after being snubbed by the Academy and denied an Oscar nomination, in the new trailer of her upcoming Netflix documentary Halftime.The 52 year old is shown breaking down in tears as she finds out she hasn't made the shortlist for her star turn in Hustlers.The doc follows the star as she is preparing for the 2020 Super Bowl Halftime show. Upon Hustlers' release, Jennifer was widely praised for her portrayal of New York City stripper Ramona. The Oscar wasn't meant to be though, as the multi-talented star was rejected by the Academy in early 2020, leaving he visibly upset in bed after hearing the news.