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Cannes Review: Chie Hayakawa’s ‘Plan 75’ - deadline.com - Japan
deadline.com
28.05.2022 / 21:25

Cannes Review: Chie Hayakawa’s ‘Plan 75’

A diet of rice and tofu, plenty of regular, gentle exercise and excellent hospitals: the Japanese have nailed the formula for getting old prolifically. With a little less than 30% of the population over 65, Japanese society is now officially termed as “super-aged.” Meanwhile, thanks to a low birth rate and an ingrained opposition to immigration, the total number of people is falling dramatically. Each year, there are fewer younger people to look after more older ones. It’s a slow-burn economic crisis.

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: Emin Alper’s ‘Burning Days’ - deadline.com - Turkey
deadline.com
26.05.2022 / 13:49

Cannes Review: Emin Alper’s ‘Burning Days’

On the one hand, Emin Alper’s Burning Days is a discreet but telling account of the resurgence of homophobia — a key plank of right-wing populism — in Turkey. On the other hand, it’s a half-and-half genre film: half crime thriller and half western.

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: 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.

Cannes Review: Davy Chou’s ‘Return To Seoul’ - deadline.com - France - city Seoul - North Korea
deadline.com
22.05.2022 / 14:59

Cannes Review: Davy Chou’s ‘Return To Seoul’

An adoptee explores her Korean roots in Return To Seoul, Davy Chou’s engaging drama premiering at Cannes in Un Certain Regard. Newcomer Park Ji-Min plays the magnificently complex Freddie, who was raised in France and has impetuously decided to spend a couple of weeks in the country of her birth.

Cristian Mungiu Demonstrates That Racism & Xenophobia Are Universal In ‘R.M.N.’ [Cannes Review] - theplaylist.net - Ireland - Ukraine - Russia - Eu
theplaylist.net
22.05.2022 / 14:31

Cristian Mungiu Demonstrates That Racism & Xenophobia Are Universal In ‘R.M.N.’ [Cannes Review]

CANNES – We are living in yet another era of European history where old battles over the borders of nation-states are being disputed. Russia has invaded the sovereign nation of Ukraine after already annexing the province of Crimea less than a decade ago.

‘Boy From Heaven’ Review: Tarek Saleh Crafts A Gripping Exploration Of Religion & Politics In Egypt [Cannes] - theplaylist.net - Egypt - city Cairo
theplaylist.net
21.05.2022 / 18:11

‘Boy From Heaven’ Review: Tarek Saleh Crafts A Gripping Exploration Of Religion & Politics In Egypt [Cannes]

In 2017, Swedish-Egyptian director Tarek Saleh’s breakthrough film “The Nile Hilton Incident” was the subject of much controversy and was ultimately banned in Egypt due to its in-depth portrayal of police corruption in modern-day Egypt. Five years later, Saleh is back with “Boy From Heaven” (“Walad Min Al Janna“), a transfixing feature tackling the harsh realities that occur in the country, this time exploring the complicated and corrupt relationship between religion and politics.

Cannes Review: Paul Mescal In Charlotte Wells’ ‘Aftersun’ - deadline.com - Scotland - Turkey - county Wells - Charlotte, county Wells
deadline.com
21.05.2022 / 14:25

Cannes Review: Paul Mescal In Charlotte Wells’ ‘Aftersun’

Scottish writer-director Charlotte Wells lights up Cannes Critics’ Week with Aftersun, the absorbing story of an 11-year-old going on holiday with her father. Paul Mescal (Normal People, The Lost Daughter) stars alongside Francesca Corio in a terrific two-hander with engaging supporting performances. Shot on location in Turkey, the film is partly a comedy-drama about a package holiday, but also a meditation on memories of a father with mental health problems.

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