‘Club Zero’ Review: Anorexia Becomes A School Cult In Jessica Hausner’s Stylish But Disturbing Competition Pic – Cannes Film Festival

From the Palme d’Or for “Parasite” to a stint on the following jury to a Best Actor prize all of his own with last year’s “Broker,” Song Kang-ho has become a recent fixture at Cannes. This year he made a late-break for Croisette with “Cobweb,” a slight-but-entertaining film about the movies from director Kim Jee-woon.

 just due to a pukey provocation jury president Ruben Östlund may take as a game, set, match.In simplest terms, “Club Zero” is a film about eating disorders, and one so unflinching about the subject that it warrants a content warning ahead of the opening credits. Of course, Hausner makes abundantly clear that her film is about so much more from the moment those credits roll, and we find ourselves in an affluent private academy full of wood panels, Formica surfaces and about a hundred other interior design choices pulled from a rec room in 1970s hell.Onto the scene struts Ms.

season 3 couple Juan and Jessica's baby is here! Jessica has given birth to their first child together, a baby boy, ET can exclusively share.The couple has decided to name their son David Vincent Daza Londoño. David was born on May 24 at 1:51 p.m., weighing 6 pounds and 3 ounces.In a statement to ET, Jessica shares, «Mommy (Jessica), Daddy (Juan), and his two big brothers, Dayton and Dawson, are so in love with him already and we all can't wait to be together as a family. We feel so lucky to have our beautiful blessing here.

On May 8th, avid stargazers eyeballing the cosmos were treated to a rare spectacle: the sight of a network reboot flaming out. CBS’s astonishingly ill-conceived adaptation of James Cameron’s “True Lies” premiered in March, concluded last week, and was unceremoniously canceled before the finale aired; “steady but low” isn’t the viewership the company hoped for.

Guy Lodge Film Critic All of life, including death, is in the lengthy, unbroken shot that opens Thien An Pham’s bewitching debut feature “Inside the Yellow Cocoon Shell.” We begin on the sidelines of a local soccer match in Saigon’s city center, observing the play from a cool distance before following a shuffling mascot, dressed in a wolf suit, to the adjoining bar. There, crowds watch a 2018 World Cup fixture while a group of young men, turned from the TV, drink and discuss matters of faith, existence and ennui. Thien (Le Phong Vu) is quiet and morose, only half-invested in a conversation already beset with distractions: the sales pitch of a bubbly beer rep, the burst of a sudden summer thunderstorm, a metallic screech and grim thump as the camera again drifts serenely over to reveal the aftermath of a fatal motorcycle crash. In the ensuing rhubarb of bystander concern, Thien stays put.

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.

In the early ’90s, Japan’s Takeshi “Beat” Kitano was on a roll, with a superb string of nuanced crime movies that stood in stark contrast to the good-vs.-evil bullet operas that were coming out of Hong Kong at the time. Kitano’s darkly funny cynicism (who else could have made Violent Cop?) made him stand out by miles, but it soon became his weakness, as became evident in the lean period after the success of Zatoichi in 2013. The experimental, semi-autobiographical trilogy that followed — Takeshis’, Glory to the Filmmaker and Achilles and the Tortoise — seemed to offer little more than self-sabotage, the work of a frustrated artist trying to take a blowtorch to his populist image without much thought for the future.

Mia Wasikowaska’s newest movie is turning heads on the festival circuit.

Johnny Depp is honoring his late friend Jeff Beck at a tribute concert after the actor's controversial appearance at the 2023 Cannes Film Festival. The "Pirates of the Caribbean" star stepped out on the stage to honor the legendary rock guitarist at the Royal Albert Hall on Monday.  Depp, 59, donned a loose white button-down with a design of his longtime friend Beck on the back of the shirt.

Jessica Kiang Fogs, dogs and toxic smogs are just the headliner adversities hurled at the motley band of misfits determined to survive Kim Tae Gon’s “Project Silence,” by no means a classic in the Korean action-thriller pantheon, but a good enough stopgap for a rainy Sunday until the next one comes along. Set on a cataclysm-prone Seoul highway bridge with suspension cables, like those of our disbelief, destined at some point to snap, Kim’s screenplay — co-written with Park Joo Suk and Kim Hong Hwa — cleaves so close to disaster-movie formula it’s hard to believe it needed three human screenwriters to gin it up. Given that its most lunatic flourish is the addition of dozens of slavering government-engineered superdogs, maybe it was partially generated by algrrrithm. 

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.

Forget about Robin Williams’ Mr. Keating and his iconoclastic sway over his pupils in Dead Poets Society, Mia Wasikowska’s nutrition teacher Miss Novak in the Cannes competition title Club Zero takes inspiring students to a darker level.

Lord, give me strength. From the first minute of “The Idol,” the already controversial music-based television series from HBO Max (sorry, Max), it’s clear that creators Abel Tesfaye (formerly known as The Weeknd), Sam Levinson, and Reza Fahim want to incite a reaction.

Mia Wasikowska is back on the red carpet!

Rebecca Rubin Film and Media Reporter “Club Zero,” a teen-cult thriller from director Jessica Hausner, may have Cannes Film Festival attendees thinking twice about ordering that second croissant on the Croisette. The movie, which preaches the art of “conscious eating” and will definitely force viewers to consider the way they consume food, may be one of the more polarizing titles to debut at this year’s festival. Still, it earned afive-minute standing ovation at Monday night’s premiere. In the film, Mia Wasikowska, a favorite from “Jane Eyre” and “Alice in Wonderland,” stars as the nutrition teacher from hell at an elite prep school. It all starts innocently, as teen cults are wont to do, with Miss Novak instructing her students that eating less is healthy, for themselves and for the environment. By the time the other educators and parents take note, an unthinkable reality has already started to unfold.

Owen Gleiberman Chief Film Critic Jessica Hausner, the director of the supremely audacious and disturbing eating-disorder thriller “Club Zero” (yes, I used the words “eating disorder” and “thriller” in the same sentence — that’s the kind of boundary-smashing movie this is), has the potential to be an important filmmaker. Her last movie, “Little Joe” (2019), a sci-fi creep-out about a sinister strain of houseplant, was really a dark-as-midnight parable of the psychotropic-drug era. “Club Zero” won’t be for everyone, but Hausner, channeling some combination of Hitchcock and Cronenberg and “Village of the Damned” and the Todd Haynes of “Superstar: The Karen Carpenter Story,” has now made an even more gripping and provocative mind-fuck.

“Eureka” seems somewhat deceitfully simple: a man called Murphy (Viggo Mortensen) searches for his abducted daughter with the help of the mysterious El Coronel (Chiara Mastroianni), even if he has to shoot everyone who stands in his way.

Oh, baby! Claire Holt revealed her third pregnancy while attending the 2023 Cannes Film Festival on Saturday, May 20.

I am still searching for my words; my thoughts first ran dry in the opening minutes of the shattering and evocative “Killers of the Flower Moon.” It begins with the Osage tribal elders mourning the loss of their language and customs as they bury a sacred pipe. The scene breaks, next revealing these Indigenous folks — forcibly moved from Missouri to present-day Oklahoma (thought to be terrible, barren land) — discovering oil as psychedelic music erupts with the splash of the black liquid.

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.