Cannes Classics Pays Homage to Godard, Ozu, Hitchcock

The dignity of labor is explored with gentle humor and a very melancholy sense of joie de vivre in Wim Wenders’ second 2023 Cannes entry after his 3D documentary Anselm. Shot entirely in Japan, with very little English spoken, Perfect Days is an unusual film from a westerner since it does nothing to “other” a country that is often romanticized as a series of specific cultural signifiers (as in the well-meaning Lost in Translation, for example). It’s a compliment to say that Jim Jarmusch could have made it.

Having previously won the Palme d’Or in 2001 for “The Son’s Room” and premiered the majority of his films in competition, Italian filmmaker Nanni Moretti has been a mainstay at the Cannes Film Festival for several decades.

Matt Donnelly Senior Film Writer The upper deck at France’s Hotel Du-Cap-Eden-Roc offers a stunning coastal view of nearby city Cannes, the kind that Jay Gatsby would covet to peep Daisy Buchanan. On Tuesday, at one of the hottest parties at this year’s Cannes Film Festival, that view belonged to Graydon Carter. Standing alone with a female companion, the creator of the digital publication Air Mail and iconic former editor of Vanity Fair observed not a long-lost love but a cliffside full of movie stars, auteur directors and Hollywood power players. Carter’s Air Mail co-hosted an evening celebrating the 100-year anniversary of Warner Bros. Pictures, the latter represented by Warner Bros. Discovery CEO David Zaslav and his top content lieutenants. Leonardo DiCaprio, Scarlett Johansson and Colin Jost, Robert De Niro, Martin Scorsese, Lily-Rose Depp, Sam Levinson, Jason Statham and Rosie Huntington-Whiteley, Rebel Wilson and more turned up to toast cinema and each other.

In “Terrestrial Verses,” the first collaboration between co-directors Alireza Khatami and Ali Asgari that was met with applause throughout the entirety of its premiere screening in the Un Certain Regard section of this year’s Cannes Film Festival, observes life under Iranian theocracy through the mundane experiences of 12 ordinary people across various ages that are bookended by a prologue and epilogue. As we watch them navigate complex situations related to social repression, the swift 77-minute runtime never misses a beat.

For three decades, filmmaker Takeshi Kitano was fixated on a period of Japanese history, in which Lord Oda Nobunaga was inexplicably betrayed by one of his closest allies, Akechi Mitsuhide, in an ambush at Honno-ji Temple. The reasons behind Mitsuhide’s deception are unknown, but Kitano dedicated years to concocting his own theories, going so far as to pen a novel imagining the events that led to the incident.  Adapted from his own book, “Kubi” is an outrageously exhilarating update of the samurai epic, dialing up the blood and guts and sprinkling in the sick humor to match.

Warwick Thornton is no stranger to La Croisette. His debut feature, “Samson and Delilah,” won the Camera d’Or at the 2009 Cannes Film Festival, where his latest feature, “The New Boy,” just had its premiere.  READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch “The New Boy” never gives its protagonist, the titular New Boy, a name.

Cults and eating disorders warp the mind much in the same way: they convince the individual that their behavior is special and vital, that everyone else can’t see themselves or the world clearly, and that any external opposition only proves the effectiveness and power of their behavior. In her grueling new film “Club Zero,” Austria’s most fearless button-pusher Jessica Hausner fuses the two into a trajectory of slow-moving, inexorable body horror as primly buttoned-up as the lemon-lime polo shirt uniforms selected by her costume-designer sister Tanja.

An English lieutenant, an American cowboy, and a mixed-race Chilean sheepherder venture into the inhospitable limits of the Tierra de Fuego region at the southernmost tip of the South American continent—the ends of the Earth, some might call it. Under the orders of their employer, landowner José Menéndez (the always masterful Alfredo Castro), the trio’s mission is to savagely murder as many Indigenous people as they encounter in their path.  READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch Set in 1901, “The Settlers” (Los Colonos), a scorching Western on Chile’s blood-soaked national myth, takes aspects from the official text-book history and probes at their conveniently sanitized interpretations of how they shaped the country’s future.

There is no dialogue. There are no humans.

Michel Gondry’s new film “The Book of Solutions,” playing in Directors’ Fortnight at this year’s Cannes Film Festival, centers on the torturous life of being a creative filmmaker and begins at the heart of the matter: Marcc(Pierre Niney) is in a meeting with the producers of his new film, and they are unhappy with what he has delivered them. They’re ending the shoot, putting a new editor in charge to salvage what is already there, and his producing partner of many years finally turns his back on him.

Of King Henry VIII’s six wives, his final marriage to Catherine Parr is perhaps the most ignored. The others are rife with tragedy: there are the two he detested the most that he bent the will of God to legalize divorce; there’s Jane Seymour, who died soon after giving birth to an heir; and most notoriously of all, there are the wives he beheaded.

Justine Triet’s “Anatomy of a Fall,” playing in Competition at this year’s Cannes Film Festival, begins with an interview between a writer and a student interested in her work. It’s a lighthearted, almost flirty discussion where double entendres are part of a seemingly harmless game.

In 2013, filmmaker Anthony Chen’s first feature, “Ilo Ilo,” won the coveted Caméra d’Or at Cannes. Centered around the inseparable bond between a 10-year-old Singaporean boy and his Filipina nanny, Chen’s full-length debut deployed a specific lens — a family weathering the 1997 Asian financial crisis — to tell a universal story exploring the nooks and crannies of our shared humanity.

In 2013, filmmaker Anthony Chen’s first feature, “Ilo Ilo,” won the coveted Caméra d’Or at Cannes. Centered around the inseparable bond between a 10-year-old Singaporean boy and his Filipina nanny, Chen’s full-length debut deployed a specific lens — a family weathering the 1997 Asian financial crisis — to tell a universal story exploring the nooks and crannies of our shared humanity.

Nuri Bilge Ceylan has been a Cannes regular since his debut short, “Koza,” in 1995. An assured auteur from the very beginning, Ceylan made a name for Turkey on the festival circuit, and every year he brings a new title to the Croisette, critics and audiences alike already know what they’re in for.

God, what a terrible thing it is to be a teenage girl. A body once free to roam and run and be transformed by the unforgivable rush of hormones, cunning little tricksters pumped through blood in a mad rush to reach the anti-climatic cusp of adulthood.

Bad Bunny's new music video for his song, «Where She Goes,» has some fans wondering if he's planted little tributes to Kendall Jenner throughout the project.Set in the desert, Bad Bunny, whose real name is Benito Antonio Martínez Ocasio, finds himself coming in contact with a woman dressed as an angel and crashing a bonfire party, before waking up alone next to a pile of ash and driving off. The music video is filled with celebrity cameos, including Frank Ocean, Dominic Fike, Lil Uzi Vert, Ronaldinho, Isabella Manderson, Julian Consuegra, Juliana Nalú, and Sabrina Zada.As fans speculate whether some imagery, and a particular party guest, might be an homage to Jenner, Bad Bunny opened up to Zane Lowe on Apple Music 1 about his personal life amid romance rumors. «I just enjoy my life right now.

Patrick Frater Asia Bureau Chief TF1 Studio/ Newen Connect has picked up international sales rights to “Sarafina!,” the iconic South African musical-dance-drama that premiered at the Cannes Film Festival in 1992. “Sarafina!” was the first major film to be made in South Africa after the release of Nelson Mandela from his 27-year prison term. The film tells of the strength of the young women who made their mark during South Africa’s long journey to freedom. A restored version of the film will play in the Cannes Classics section this Sunday. It is a digitally remastered ‘producer’s cut’ which was created in partnership with Imax and includes never-seen-before footage.

McKinley Franklin editor Choreographer Jamal Sims is no stranger when it comes to creating top-of-the-line dance numbers for television and film projects, and his work on “Grease: Rise of the Pink Ladies’” “New Cool” sequence just extends his repertoire. “Because I grew up on this film, I felt like [the choreography] was in me,” Sims tells Variety.  The scene set for “New Cool” resembles that of another favored number from the original “Grease” film — defined by boilersuits, beat-up cars and a whole lot of grease.  “[‘New Cool’ is set] in a mechanic’s classroom,” said Sims. “I [knew], going in, that this was going to be compared to ‘Greased Lightning.’” Indeed, the number pays great homage to John Travolta’s covertly sexual anthem. Sims says that the key difference between the two lies in the “storytelling.”

Naman Ramachandran Indian auteur Aribam Syam Sharma’s “Ishanou,” which screened at the Un Certain Regard strand at Cannes in 1991 is returning to the Croisette in a restored version. The Manipuri-language film is the only Indian film at the festival’s Cannes Classics section this year. “Ishanou” (“The Chosen One”), follows Tampha, a young woman with a loving husband and a small daughter, who leads a tranquil existence in the Manipur valley and is occupied with the mundane details of life. Suddenly she begins to behave in a strange manner, talking to flowers, becoming afflicted with dizzy spells and wandering out of the house in the dark of the night. The family tries to find a cure for her malady and finally realize that she does not have a sickness, but rather is responding to the call of a deity who has chosen her.