Cannes Review: Mario Martone’s ‘Nostalgia’

Mira Sorvino towers above her co-stars at the Impeachment: American Crime Story FYC Event held at El Capitan Theatre on Friday (June 10) in Los Angeles.

In the wake of mass shootings in Buffalo and Texas, many people are crying out for someone to “do something.” Yet some of the loudest voices in that chorus are among the biggest hypocrites when it comes to creating an atmosphere that promulgates violence among the feeble minded.

Pearl Jam have announced a number of new additions to their BST Hyde Park shows next month.The gigs on July 8 and 9 will be the band’s biggest ever London shows. Pearl Jam were originally due to headline BST Hyde Park in 2021 alongside Duran Duran but the event was cancelled as a result of the COVID pandemic.Newly announced support acts for the shows include October Drift, Fatherson, LIFE and Daytime TV on July 8.

Elsa Keslassy International CorrespondentSideshow and Janus Films have acquired North American rights for “Tori and Lokita,” the latest film by two-time Palme d’Or winners Jean-Pierre and Luc Dardenne, which world premiered in competition at Cannes. The movie was one of the best reviewed films of the competition and earned the Dardenne brothers the festival’s special 75th Anniversary Prize.A story of human perseverance, the film is set in contemporary Belgium and follows a young boy Tori (Pablo Schils) and an adolescent girl Lokita (Joely Mbundu) who have traveled alone from Africa and pit their invincible friendship against the difficult conditions of their exile.“Tori and Lokita” stars Pablo Schils, Joely Mbundu, Alban Ukaj, Tijman Govaerts, Charlotte De Bruyne, Nadège Ouedraogo, and Marc Zinga.

Sideshow and Janus Films have acquired North American rights for Jean-Pierre and Luc Dardenne’s Tori and Lokita which premiered in competition at the Cannes Film Festival and was lauded with the Festival’s Special 75th Anniversary Prize. A theatrical release from Sideshow and Janus is being planned.

The exquisite and sublime journeys of Oregon-based filmmaker Kelly Reichardt are arguably, more or less, incidental or oblique political statements about survival in America, often focusing on two or more friends, usually outsiders, and their struggle to endure. “Wendy And Lucy,” about a destitute woman and her soulmate canine companion, was overt about human inequity and hardship; “Meek’s Cutoff” depicted the unbearable burden of living off a hostile, unforgiving land; and “First Cow” presented the warm, but sad futility of two friends trying to sustain themselves under the grueling rigors of nascent American capitalism.

Marta Balaga Italy’s Valerio Ferrara was named the winner of the 25th edition La Cinef for his warm take on a hapless barber who believes in conspiracy theories in “A Conspiracy Man” (“Il Barbiere Complottista”). Laughing stock of his family, nobody takes him seriously. Until he is arrested by the police.“Personally, I have a special affection for the cinema of this country,” said Canadian actor Monia Chokri, praising the director’s sense of humor.

Unlike most films and series set in Naples, “Nostalgia” really does show us the city like we’ve never seen it before: from the melancholy perspective of someone who left forty years ago. Italian director Mario Martone makes the astute and powerful decision not to make this immediately obvious, opening the film with a stunning sequence showing a man (Pierfrancesco Favino) silently arrive in and explore the city at night.

“The Stars at Noon” finds the French filmmaker Claire Denis shooting in Panama doubling for Nicaragua; directing a cast of Yanks, Brits, and assorted Central Americans; and working from a script switching between Spanish and English. Internationally coproduced Towers of Babel such as this aren’t at all uncommon at the Cannes Film Festival, but the errors in translation all over this disappointing foreign-relations drama run deeper than simple differences of ethnicity or language.

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.

Nick Vivarelli International CorrespondentProlific Italian film and stage director Mario Martone, who is a Venice aficionado, is back in competition in Cannes 27 years after his Elena Ferrante adaptation “L’amore molesto” (“Troubling Love”) launched in competition from the Croisette in 1995. And there is a close connection between these two films that delve deep into the entrails of Martone’s native Naples.In his well-received “Nostalgia”, praised by Variety as Martone’s “most rewarding film in years,” ace actor Pierfrancesco Favino plays the middle-aged Felice Lasco, who returns to the bustling port city after having lived in Egypt for 40 years. Once back, he is caught up in memories of a distant life spent in his hometown, as his criminal youth slowly catches up with him.

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.

Deadline’s studio at the 2022 Cannes Film Festival kicked off at the American Pavilion by hosting fest-goers such as Joel Edgerton of The Stranger, Jesse Eisenberg and Julianne Moore of When You Finish Saving The World, and many more. Click on the photo above to launch the gallery.

Guy Lodge Film CriticHometowns forget us quickly when we leave them, even if some of the people left behind do not. Architecture, infrastructure and whole communities can change with scant warning or regard for our memories, or our bearings when we return.

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.

Naman Ramachandran The European Genre Film Foundation (EGFF), aimed at restoring and raising awareness of classic genre films in Europe and globally, launched at Cannes on Tuesday.The non-profit organization, headquartered in Stockholm, will work with film libraries, archives, rights holders, academics, film festivals and other institutions. It is modelled on Martin Scorsese’s Film Foundation and the American Genre Film Archive (AGFA) in the U.S.Among the first projects of the EGFF will be an academic study of historic female genre film makers in Europe and raising funds for a 4K film scanner set-up dedicated to digitizing and restoring genre films and related material that is languishing in archives.

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.

It is more than a bit ironic in a Cannes Film Festival where Baz Luhrman’s biopic Elvis is one of the most anticipated entries, that the subject of it, Elvis Presley turns out to have another direct connection this year’s fest. His granddaughter Riley Keough is making her directorial debut with the Un Certain Regard selection, War Pony having its World Premiere today. The film focuses on two young Native Americans coming of age and trying to get by in a story set on the Pine Ridge Reservation in South Dakota. It is a location that has intrigued other filmmakers like Chloe Zhao (The Rider) in recent years, and now has caught the attention of Keough and her co-director Gina Gammell in order to tell an authentic and unique contemporary tale of Native American youth brought to life by an impressive group of first-time actors, mostly locals the directors cast in order to give this as fresh and real a feel as possible. They have succeeded.

Anne Hathaway is channeling one of her most iconic characters. On Thursday, the 39-year-old actress stepped out for a screening of her new flick, , at the 2022 Cannes Film Festival, and gave off serious Mia Thermopolis vibes.Hathaway stunned on the red carpet in a custom, white Giorgio Armani Privé gown that included a train and oversized bow.