‘Close’ Review: This Belgian Buddy Story Seems So Beautifully Understated, Until Suddenly It Isn’t

Jennifer Maas TV Business WriterThis year marks the 30th anniversary of Joe Berlinger and Bruce Sinofsky’s “Brother’s Keeper,” which, as Berlinger says, is “one of the granddaddies of the true-crime docu movement.”It’s true that the 1992 film about the bizarre murder trial of Delbert Ward, who was accused of the “mercy killing” of his brother in rural upstate New York, was an early entrant in our collective societal obsession with the unscripted true-crime format, which in recent years has crossed over to the scripted side.As one of the founding fathers of the format that has piqued our interest in true crime to the point where limited series including “Impeachment: American Crime Story,” “The Staircase,” “The Dropout,” “Inventing Anna,” “Dr. Death,” “A Very British Scandal,” and several more are all competing in the same Emmys’ cycle, Berlinger has some unique insight into the nonfiction-to-dramatized evolution.

Artfully toggling between the ephemeral memories associated with the infamous Chelsea Hotel, and the more granular concerns of its present residents, Maya Duverdier and Amélie van Elmbt’s new documentary, the Martin Scorsese executive produced “Dreaming Walls: Inside the Chelsea Hotel,” is a concise reflection of the erasure of historical monuments in the name of gentrification. Centralizing the protracted construction process that closed down the hotel in 2011, but allowed its long-term residents to stay, the doc mainly follows the hold-outs in their ninth year of construction, many who view the hotel as one the last examples of bohemian, and affordable, living in Manhattan.

Owen Gleiberman Chief Film CriticThe so-called Lost Weekend, when John Lennon, from late 1973 through ’74, separated from Yoko Ono and relocated to Los Angeles, where he became a hard-drinking rock-club night owl while carrying on an affair with the 22-year-old May Pang (who had been John and Yoko’s assistant), has long been part of rock mythology. It’s been covered by everything from E! documentaries to Albert Goldman’s “The Lives of John Lennon.” Like many Lennon observers, I’ve always felt like I knew the basic bones of it.I knew that John and Yoko, after marrying in 1969 and seeming like inseparable soulmates in art and life, began to have problems as a couple.

Jessica Kiang If the unmarked enemy aircraft, mirrored visors and carefully evasive language of Joseph Kosinksi’s “Top Gun: Maverick” tell us anything, it’s that Hollywood has learned to avoid political specifics in the delivery of grandstanding blockbuster entertainment. So one can be forgiven for coming to “Rebel” with hackles raised and offence-o-meters on red alert, as it milks Hollywoodish action-movie thrills (and even a few surreal musical numbers) from the highly charged scenario of one young Belgian’s recruitment into a Syrian ISIS cell.

After taking home the Un Certain Regard Fipresci prize in 2018 for the trans-female ballet dancer feature Girl, filmmaker Lukas Dhont returned to home to find himself staring at the blank page for his next project.

Leo (Eden Dambrine) and Remi (Gustav De Waele) are more than just friends and not at all lovers. At only 13 years of age, they’re too young for that – and what’s more, their bond transcends simple labels. First seen running through the lush meadows of rural Belgium, the duo share a complicity that is as natural and abundant as the late summer harvest.

Belgium’s Lukas Dhont takes a deserved step up to the Cannes Film Festival competition with Close, only his second film — a minimalist melodrama that shows a definite growth in visual style but may be confronting to some with its deliberately unhurried, Eric Rohmer-esque aesthetic. The international success of Dhont’s well-intentioned debut Girl, about a young trans-female ballet dancer, was somewhat blunted in the U.S., where G.L.A.A.D. amplified complaints of misrepresentation on behalf of the trans lobby. Close is a much safer proposition, but may yet sail into choppy waters with its themes of youth suicide.

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.

Gregg Goldstein Belgian director Lukas Dhont is in rare company. His 2018 Un Certain Regard debut, “Girl,” won the Caméra d’Or and three more Cannes prizes, besting the number of first-time feature wins from the likes of Steven Soderbergh and Steve McQueen. And while his rise has come with some controversy, he earned a place in competition with the May 26 Lumière gala premiere of his sophomore effort, “Close.” The story of two 13-year-old boys whose powerful friendship ends when their relationship comes under scrutiny “started from a very personal place,” says the out director, who penned the script with “Girl” co-writer Angelo Tijssens.

Jean-Pierre and Luc Dardenne, the Belgian brothers who have directed a series of films notable for quiet naturalism, are a prime example of how at the Cannes Film Festival, familiarity breeds not contempt but contentment.Year after year, Cannes puts the Dardennes’ films in the Main Competition; they’ve made nine features since “Rosetta” in 1999, and every one of them has vied for Cannes’ top honor, the Palme d’Or, with “Rosetta” and 2005’s “L’Enfant” winning and four others taking additional awards. The Dardennes now have a chance to make significant Cannes history by becoming the first directors to ever win the Palme for a third time.If they win for “Tori and Lokita,” which premiered in Cannes on Tuesday, they’ll also set a new record for the longest time elapsed between Cannes wins, with the 17-year gap since “L’Enfant” breaking the record of 14 years between Shohei Imamura’s wins for “The Ballad of Narayama” and The Eel.”But familiarity may also be working against the Dardennes at this point.

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.

Rock Werchter, which is still set to continue.“The desire to experience festivals in all their glory again after two years of silence is great,” Herman Schueremans, who promotes the festival alongside Live Nation Belgium, said in a statement (per IQ).“But there are a few dampers on the revelry. Consumer confidence is lost, the live entertainment sector is struggling with staff shortages, production costs are skyrocketing.”The majority of acts originally scheduled to perform at Rock Werchter Encore have now been integrated into sister festival TW Classic, which takes place on June 25.Florence + The Machine, The Kid Laroi, The Specials, and Sky Ferreira are among the acts that have joined the TW Classic bill.

Jessica Kiang Nobody does convoluted like Park Chan-wook. Far beyond the point that Theseus himself would have given up and turned to a pile of desiccated bones in some dead-end nook, the Korean master behind “Oldboy” and “The Handmaiden” will be coolly sauntering through another of his immaculately intricate labyrinths, pausing very occasionally — with perhaps the slightest trace of irritation — to make sure the laggards in the back can keep up.