Cristian Mungiu
Sri Lanka
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Cristian Mungiu
Sri Lanka
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Cannes Review: Leonor Serraille’s ‘Mother And Son’ - deadline.com - France - Ivory Coast
deadline.com
27.05.2022 / 21:52

Cannes Review: Leonor Serraille’s ‘Mother And Son’

When his mother spoke, Ernest remembers, everything sounded important. “I cling to her light,” he tells us in voiceover, an adult remembering how that felt. The Ernest he is recalling is just a little boy (Milan Doucansi), snuggled against Rose (Annabelle Lengronne, a wonderfully vivid presence), with his grave and clever older brother Jean (Sidy Fofana) sitting opposite on a train taking them from Cote d’Ivoire to a new French life.

Cannes Review: Hlynur Palmason’s ‘Godland’ - deadline.com - Iceland - Denmark - city Copenhagen - county Lucas
deadline.com
27.05.2022 / 19:35

Cannes Review: Hlynur Palmason’s ‘Godland’

Lucas’ bishop warns him of the dangers before he sets out to minister to a remote community of Icelanders in Cannes Un Certain Regard title Godland. “It’s easy to go mad there,” he explains at his Copenhagen dining table, steadily chewing his way through the fabulous feast in front of him. Iceland, where the sun never sets on summer nights, where the weather is extreme, the landscape broodingly monumental: just remember the apostles, “a group of lonely men,” the bishop advises as he wipes his mouth. Lucas (Elliott Crosset Hove) is not eating; one glance tells you he’s a priest of an ascetic bent.

Cannes Review: Michelle Williams In Kelly Reichardt’s ‘Showing Up’ - deadline.com - state Oregon - county Williams
deadline.com
27.05.2022 / 18:49

Cannes Review: Michelle Williams In Kelly Reichardt’s ‘Showing Up’

Kelly Reichardt has been making minimal Americana since the early 1990s, mostly around the state of Oregon where she lives and mostly about her favored awkward squad: quiet square pegs who don’t quite fit the round holes society provides. In this ongoing quest she has found many collaborators, but none more attuned to her recessive brand of naturalism than Michelle Williams.

‘Close’ Is A Exquisite Tale Of Childhood Heartbreak [Cannes Review] - theplaylist.net
theplaylist.net
27.05.2022 / 01:33

‘Close’ Is A Exquisite Tale Of Childhood Heartbreak [Cannes Review]

CANNES – Lukas Dhont’s second feature, “Close,” starts off where most love stories end, and, in that respect, it begins with almost euphoric joy. Leo (Eden Dambrine) and Remi (Gustav De Waele) are the best of friends.

Cannes Review: Claire Denis’ ‘Stars At Noon’ - deadline.com - France - USA - county Graham
deadline.com
26.05.2022 / 02:01

Cannes Review: Claire Denis’ ‘Stars At Noon’

Given the combustible subject matter and the director’s reputation, French auteur Claire Denis has made a remarkably listless and unpersuasive film in Stars at Noon. Set during the Nicaraguan Sandanista revolution circa 1984, this adaptation of Denis Johnson’s novel published two years later centers on a couple of Americans of dubious character who misspend time in Central America before finally deciding it’s time to split when, in fact, it might be too late. This is the sort of misfire that, just because it comes from a hallowed French auteur, sometimes gets programmed in the Cannes competition even when it manifestly doesn’t deserve to be there.

Cannes Review: Saeed Roustaee’s ‘Leila’s Brothers’ - deadline.com - Iran - city Tehran
deadline.com
25.05.2022 / 19:25

Cannes Review: Saeed Roustaee’s ‘Leila’s Brothers’

They all hate each other, Leila (the magnificent Taraneh Alidoosti) tells her brother Alireza (Navid Mohammad Zadeh) when he returns to the family home. It is a rare visit; he works in an industrial plant somewhere on the other side of Iran. He isn’t going to tell his family that he has been laid off with the promise of pay that has never materialized; in the Tehran family that crowds Saeed Roustaee’s long and absorbing clan drama Leila’s Brothers, he is supposed to be the properly functioning son.

Cannes Review: Mario Martone’s ‘Nostalgia’ - deadline.com - USA - Italy - city Naples
deadline.com
25.05.2022 / 02:21

Cannes Review: Mario Martone’s ‘Nostalgia’

Nostalgia has seldom looked grittier, or more treacherous, than it does in Mario Martone’s eponymous new film. The Italian director splashes his teaming, boisterous, unruly native city of Naples across the screen in fulsome fashion in telling the story of a man who left as a teenager but, some 40 years later, is drawn back into its sinister embrace.

Cannes Review: Jean-Pierre And Luc Dardenne’s ‘Tori And Lokita’ - deadline.com - Belgium
deadline.com
24.05.2022 / 20:25

Cannes Review: Jean-Pierre And Luc Dardenne’s ‘Tori And Lokita’

You can pretty much bet that whenever the Dardenne brothers show up with a new film in Cannes, it will walk away with some sort of prize. That has been the case since 1999 when their first competition film, Rosetta swooped in at the last minute and won the Palme d’Or and Best Actress. They won a second Palme d’Or in 2005 for The Child, the Grand Jury Prize in 2011 for Kid With A Bike, Screenplay in 2008 for Lorna’s Silence, and Director in 2019 for Young Ahmed. No matter what the jury, the Dardennes continue to impress, yet none of their films has ever brought them an Oscar nomination. 2011’s Two Days, One Night did get a surprise Best Actress nomination for Marion Cotillard but that has been it.

Cannes Review: Andres Ramirez Pulido’s ‘La Jauria’ - deadline.com - USA - Colombia
deadline.com
24.05.2022 / 20:25

Cannes Review: Andres Ramirez Pulido’s ‘La Jauria’

Out in the jungle, no one can hear you dragging a body around. Mind you, nobody notices much what you do in the city, either. Colombian director Andres Ramirez Pulido’s debut feature, La Jauria, screening in Critics’ Week at Cannes, opens with a grab-bag of images familiar from current Latin American cinema — a couple of teenage boys in neon-lit urban darkness, some elaborate sniffing and nose-wiping, a bike that shouts “stolen” as they careen down a highway — but soon detours into stranger and much more remote territory. One thing you can be sure of: wherever they are, these boys are going to be in trouble.

Cannes Review: Owen Kline’s ‘Funny Pages’ - deadline.com - county Owen
deadline.com
24.05.2022 / 15:55

Cannes Review: Owen Kline’s ‘Funny Pages’

Talk about multiverses. In a parallel cosmos that is apparently just around the corner from you right now, a bunch of boys — and grown men — are living a life so different from yours that they might as well be aliens. You can see them in Owen Kline’s Directors’ Fortnight title Funny Pages, hanging out all day in a store that sells old comics, arguing about the finer plot points in the first superhero comics and the originality or otherwise of their own homemade zines.

Cannes Review: Brett Morgen’s David Bowie Documentary ‘Moonage Daydream’ - deadline.com
deadline.com
24.05.2022 / 14:35

Cannes Review: Brett Morgen’s David Bowie Documentary ‘Moonage Daydream’

David Bowie unquestionably became a great rock star—the greatest ever, according to a tribute published by Rolling Stone after his death in 2016. Yet, it comes closer to the truth to call Bowie a “rock star,” the quotation marks suggesting that what Bowie created was a persona of the rock god, in much the same way that Cary Grant manufactured the quintessential image of the glamorous “movie star.”

Cannes Review: Lea Mysius’ New Film ‘The Five Devils’ - deadline.com - France
deadline.com
24.05.2022 / 04:23

Cannes Review: Lea Mysius’ New Film ‘The Five Devils’

Director Léa Mysius expertly crafts a queer, witchy movie in her Directors’ Fortnite debut film, The Five Devils, which received a five-minute standing ovation at the screening I attended. Mysius takes concepts like identity, sexuality, and mysticism and creates an intricate genre film that’s part time travel, part drama, and all heart. 

Cannes Review: Park Chan-wook’s ‘Decision To Leave’; His First Film To Premiere At Cannes Since 2016 - deadline.com
deadline.com
23.05.2022 / 20:05

Cannes Review: Park Chan-wook’s ‘Decision To Leave’; His First Film To Premiere At Cannes Since 2016

Detective Hae-joon investigating the death of a man who fell from a mountain top. When he meets the deceased man’s wife in Park Chan-wook’s latest film in competition at Cannes, Decision To Leave.  

Cannes Review: Jean Dujardin In Cedric Jimenez’s ‘Novembre’ - deadline.com - France - Paris - city Brussels - city Sandrine
deadline.com
23.05.2022 / 02:27

Cannes Review: Jean Dujardin In Cedric Jimenez’s ‘Novembre’

Understandably, the terrorist attacks in Paris on the night of November 13, 2015 have been treated with great sensitivity by the French film industry, and the only other film in the Cannes Film Festival’s lineup this year to touch on those events — Alice Winocour’s Paris Revoir — is a lightly fictionalized drama set in the aftermath of the night 130 people were killed, most of them at a rock concert at the city’s Bataclan nightclub. Though many names have been changed, for obvious security reasons, Cedric Jimenez’s Novembre is, by contrast, a heavy-artillery just-the-facts-ma’am police procedural detailing the manhunt that followed in the next five days.

Cannes Review: Kristoffer Borgli’s ‘Sick Of Myself’ - deadline.com - Norway - county Person
deadline.com
23.05.2022 / 01:23

Cannes Review: Kristoffer Borgli’s ‘Sick Of Myself’

Timing can be cruel. Norwegian director Kristoffer Borgli’s second feature, Sick Of Myself, has the misfortune to arrive in the Cannes Film Festival’s Un Certain Regard section in the slipstream of Ruben Östlund’s divisive but funny competition title Triangle of Sadness; the latter being a broader, sillier but much more brutal dissection of class and culture. Sick Of Myself also has to compete with the unexpected longevity of fellow countryman Joachim Trier’s hit The Worst Person In The World, which last year went from the Cannes competition all the way to the Oscars.

Cannes Review: Ethan Coen’s ‘Jerry Lee Lewis: Trouble In Mind’ - deadline.com - county Wake
deadline.com
22.05.2022 / 22:31

Cannes Review: Ethan Coen’s ‘Jerry Lee Lewis: Trouble In Mind’

For his directing debut after brother Joel’s first solo outing with The Tragedy of Macbeth, Ethan Coen has chosen a similar saga of ruthless ambition and soul-devouring guilt, telling the rise and fall — and rise again — of Jerry Lee Lewis, from farmer’s son to rock’n’roll idol.

Cannes Review: Marie Perennes & Simon Depardon’s Docu ‘Feminist Riposte’ - deadline.com - France
deadline.com
22.05.2022 / 21:07

Cannes Review: Marie Perennes & Simon Depardon’s Docu ‘Feminist Riposte’

“Sexism is everywhere — so are we.” It’s just one of many slogans plastered across the streets of France in the timely documentary Feminist Riposte (Riposte Féministe) which is in the Special Screenings section at Cannes. Filmmakers Marie Perennès and Simon Depardon follow 10 groups of women around the country who are protesting about harassment, rape, femicide — and about the police response to these crimes. “Les flics” — aka the cops — are a silent force in this film, policing protests with grim faces. This is about giving a voice to the young women, recording their dialogue about the cause.

Cannes Review: Valeria Bruni Tedeschi’s ‘Forever Young’ - deadline.com
deadline.com
22.05.2022 / 20:27

Cannes Review: Valeria Bruni Tedeschi’s ‘Forever Young’

If you’re the parent of a kid who’s thinking about becoming an actor, nothing could be scarier than watching Forever Young (Les Amandiers).

Cannes Review: Ali Abbasi’s ‘Holy Spider’ - deadline.com - Sweden - Iran
deadline.com
22.05.2022 / 19:19

Cannes Review: Ali Abbasi’s ‘Holy Spider’

Sometimes it hardly matters whether we know a story is based on truth or not. Watching Ali Abbasi’s thunderously damning Holy Spider, on the other hand, it drives a wedge into your mind knowing that a serial killer really did terrorize the Iranian holy city of Mashhad in the early 2000s, that he killed 16 street prostitutes, that there were police who conspired to help him escape and that there were people in Iran — a lot of people, he keeps assuring his family — who were on the murderer’s side. He was doing God’s work.

Gina Gammell & Riley Keough’s ‘War Pony’ Is Admirable But Overstuffed [Cannes Review] - theplaylist.net - USA - India
theplaylist.net
22.05.2022 / 16:25

Gina Gammell & Riley Keough’s ‘War Pony’ Is Admirable But Overstuffed [Cannes Review]

CANNES – It may seem obvious, but sometimes combining two compelling stories doesn’t lead to an overall more captivating film. That’s the primary takeaway from Gina Gammell and Riley Keough‘s somewhat messy “War Pony,” which debuted at the 2022 Cannes Film Festival this weekend.

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