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‘Magnetic Beats’ Keeps Good Time, Thumping Out A Cinematic Soundtrack To A Perfect Moment [Cannes Review] - theplaylist.net
theplaylist.net
17.07.2021 / 17:31

‘Magnetic Beats’ Keeps Good Time, Thumping Out A Cinematic Soundtrack To A Perfect Moment [Cannes Review]

Director Vincent Maël Cardona uses western Europe in the early-1980s as the canvas upon which he paints his layered and achingly genuine portrait of young love, familial bondage, artistic aspiration, and universal chaos. Unburdened by a firm connection to any one genre or narrative archetype, “Magnetic Beats” tells a simple story with a full arsenal of source music, thoughtful set design, and crisp acting at all levels to pull off this love letter to a particular moment in time.

Cannes Review: ‘Petrov’s Flu’ - deadline.com - Russia
deadline.com
17.07.2021 / 03:09

Cannes Review: ‘Petrov’s Flu’

Watching the tumultuous and punishing Russian extravaganza Petrov’s Flu is like suffering a physical assault in a dark alley, or having a load of garbage jammed down your throat and piled on top of you until you just can’t take it anymore. Experimental theater bad boy and 2018 Cannes competition Leto entrant Kirill Serebrennikov takes a throw-in-everything-including-the-kitchen sink approach to painting an appallingly bleak portrait of modern Russian life.

‘Petrov’s Flu’: Kirill Serebrennikov’s Contagious, Crazed Drama Is Unhingedly Creative [Cannes Review] - theplaylist.net
theplaylist.net
16.07.2021 / 17:15

‘Petrov’s Flu’: Kirill Serebrennikov’s Contagious, Crazed Drama Is Unhingedly Creative [Cannes Review]

It’s a good thing you can’t catch a virus from an image because if you could, just a few frames of Kirill Serebrennikov‘s fabulously yeasty, bilious, dank Competition title, “Petrov’s Flu” would bring all of Cannes‘ anti-Covid measures to naught.

Tatiana Huezo’s ‘Prayers for The Stolen’ Is A Magnificently Lucid Portrait of Girlhood Under Siege [Cannes Review] - theplaylist.net - USA
theplaylist.net
16.07.2021 / 15:53

Tatiana Huezo’s ‘Prayers for The Stolen’ Is A Magnificently Lucid Portrait of Girlhood Under Siege [Cannes Review]

Tatiana Huezo’s eye for lyrical truth has materialized in documentaries like “Tempestad” or “The Tinniest Place,” works that penetrate some of the most tenebrous corners in recent Latin American history with shimmering compassion. Her stance as an acute observer of the people that survive and persevere through tumultuous sociopolitical and economically disadvantaged contexts produces thought-provoking filmic meditations.

‘Memoria’: Apichatpong Weerasethakul Meditates on Ecology & Time With Tilda Swinton In A Slow Burn Dream [Cannes Review] - theplaylist.net
theplaylist.net
16.07.2021 / 15:23

‘Memoria’: Apichatpong Weerasethakul Meditates on Ecology & Time With Tilda Swinton In A Slow Burn Dream [Cannes Review]

In one scene of Apichatpong Weerasethakul’s “Memoria,” Jessica (Tilda Swinton) and a friend browse refrigerated cabinets designed to preserve flowers. “In here, time stops,” the saleswoman says proudly, gesturing at the blue cupboards.

‘A Hero’: Asghar Farhadi’s Moral Quandary Film Questions The Weight of a Good Deed [Cannes Review] - theplaylist.net
theplaylist.net
15.07.2021 / 15:37

‘A Hero’: Asghar Farhadi’s Moral Quandary Film Questions The Weight of a Good Deed [Cannes Review]

In “A Hero” (“Ghahreman”), Asghar Farhadi blurs the line of innocence and guilt in a fraught drama about the true weight of a good deed. During a two-day reprieve from prison, Rahim Soltani (Amir Jadidi) and his girlfriend Farkhondeh (Sahar Goldust) discover a handbag full of golden coins.

‘The Crusade’: Louis Garrel’s Latest With Laetitia Casta Is A Superficially Charming, Yet Obtusely Colonialist Environmental Manifesto [Cannes Review] - theplaylist.net
theplaylist.net
14.07.2021 / 21:13

‘The Crusade’: Louis Garrel’s Latest With Laetitia Casta Is A Superficially Charming, Yet Obtusely Colonialist Environmental Manifesto [Cannes Review]

When teenaged environmental activist Greta Thunberg made her now-famous speech at the UN Headquarters in 2019, she was met with equal parts admiration and derision, likely an unfavorable imbalance toward the latter. For every A-list celebrity who reposted a clip on their Instagram story, adorned with enthusiastic heart emojis, surely another handful of Internet trolls lurked in the comments and left discouraging messages.

‘Bruno Reidal, Confession Of A Murderer’ Is An Empty, Misguided True Crime Provocation [Cannes Review] - theplaylist.net
theplaylist.net
14.07.2021 / 21:13

‘Bruno Reidal, Confession Of A Murderer’ Is An Empty, Misguided True Crime Provocation [Cannes Review]

The rise in popularity of true crime stories has seen the line between genuine investigation and lurid exploitation become increasingly blurred. With every new Netflix docu-series, podcast episode, and beach-read paperback, content creators are having to go further afield to dig up some crime forgotten to history to recast in a light that often appears oriented for entertainment first, with any richer insights an inadvertent byproduct.

‘Hit The Road’: Panah Panahi’s Directorial Debut Is Thrilling Cinema & A Breath Of Fresh Air [Cannes Review] - theplaylist.net - Iran
theplaylist.net
14.07.2021 / 18:57

‘Hit The Road’: Panah Panahi’s Directorial Debut Is Thrilling Cinema & A Breath Of Fresh Air [Cannes Review]

It would be disingenuous not to begin this review by mentioning that, yes, Panah Panahi is indeed related to the titan of Iranian cinema, Jafar Panahi.

‘The Innocents’: Eskil Vogt’s Latest Is A Violent & Disturbing Nightmare Of Childhood [Cannes Review] - theplaylist.net - USA
theplaylist.net
14.07.2021 / 16:27

‘The Innocents’: Eskil Vogt’s Latest Is A Violent & Disturbing Nightmare Of Childhood [Cannes Review]

What do we really know about children? Until the Renaissance, artists were still painting them as freakish shriveled adults. Only in the last century-ish did American society decide they probably should go to school instead of laboring all day in sweatshops.

‘Titane’: The New flesh Is Thriving, Living Rent-Free in Julia Ducournau’s F*cked Up Metallica Brain [Cannes Review] - theplaylist.net
theplaylist.net
14.07.2021 / 06:51

‘Titane’: The New flesh Is Thriving, Living Rent-Free in Julia Ducournau’s F*cked Up Metallica Brain [Cannes Review]

We can all stop wishing it a long life: the new flesh is thriving, living rent-free in Julia Ducournau‘s fucked-up titanium brain, oozing from every frame of her bizarrely beautiful, emphatically queer sophomore film, and thence seeping in through your orifices, the better to colonize your most lurid, confusing nightmares, as well as that certain class of sex dream that you’d be best off never confessing to having.

‘Blue Bayou’: Justin Chon’s Wong Kar-Wai Influenced Story Of Identity With Alicia Vikander Says We All Belong [Cannes Review] - theplaylist.net
theplaylist.net
13.07.2021 / 23:11

‘Blue Bayou’: Justin Chon’s Wong Kar-Wai Influenced Story Of Identity With Alicia Vikander Says We All Belong [Cannes Review]

“Where are you really from?” It’s an invasive question that’s awfully familiar to people of color, one that intrudes its way into our everyday lives. Though it can have innocent intentions, it’s often hostile and only works to invalidate our livelihood.

‘Lingui, The Sacred Bonds’ Acquired by MUBI Out of Cannes - thewrap.com - Chad
thewrap.com
13.07.2021 / 19:39

‘Lingui, The Sacred Bonds’ Acquired by MUBI Out of Cannes

is set in the outskirts of N’Djamena in Chad, where Amina lives alone with her 15-year-old daughter Maria. Her already fragile world collapses the day she discovers that Maria is pregnant.

Cannes Competition Contender ‘Lingui, The Sacred Bonds’ Snapped Up by Mubi for North America, U.K. & More (EXCLUSIVE) - variety.com - Chad
variety.com
13.07.2021 / 19:17

Cannes Competition Contender ‘Lingui, The Sacred Bonds’ Snapped Up by Mubi for North America, U.K. & More (EXCLUSIVE)

Elsa Keslassy International CorrespondentMubi, the London-based streamer and theatrical distributor, has acquired North America, U.K. and more territories on Mahamat-Saleh Haroun’s “Lingui, The Sacred Bonds,” a highlight of the Cannes Film Festival competition.The powerful Chadian abortion drama has received unanimous critical praise and is being talked about as a potential Palme d’Or winner at the midpoint of the festival.

Cannes Review: ‘Lingui, The Sacred Bonds’ - deadline.com - Chad
deadline.com
13.07.2021 / 18:47

Cannes Review: ‘Lingui, The Sacred Bonds’

The dilemma of a poor 15-year-old girl seeking an abortion in an Islamic African country where the practice is both taboo and illegal is dramatized with understated compassion in Lingui, The Sacred Bonds.

‘Three Floors’: Nanni Moretti’s Latest Melodrama Is Misjudged & Unconvincing [Cannes Review] - theplaylist.net - Rome - Israel
theplaylist.net
13.07.2021 / 16:45

‘Three Floors’: Nanni Moretti’s Latest Melodrama Is Misjudged & Unconvincing [Cannes Review]

Premiering in competition at this year’s Festival de Cannes, Nanni Moretti’s wild melodrama “Three Floors” is based on a 2017 Israeli novel called “Shalosh Qomot” from writer Eshkol Nevo and begins with an undeniably tragic event. One dark night on a quiet street of Rome, a drunk driver runs over a lady crossing the road, narrowly avoids hitting a pregnant woman, then finally crashes into a building, landing straight into a family’s living room.

‘Ali & Ava’: Clio Barnard’s Unlikely Romance Strikes a Sweet Chord [Cannes Review] - theplaylist.net
theplaylist.net
13.07.2021 / 16:45

‘Ali & Ava’: Clio Barnard’s Unlikely Romance Strikes a Sweet Chord [Cannes Review]

What do fans of Sylvan Esso dance house remixes and Bob Dylan have in common? Almost nothing, you’d imagine, and you’d probably be right. But in Clio Barnard’s sweet, unlikely romance “Ali & Ava,” which premiered as part of Cannes’ Directors’ Fortnight program, the two titular characters—both from opposite musical camps—learn to find common ground in each other’s preferences and more, to share in each other’s lives.

Banned From Leaving Russia, Kirill Serebrennikov Thanks Cannes Crowd By FaceTime at ‘Petrov’s Flu’ Premiere - variety.com - Russia
variety.com
13.07.2021 / 01:35

Banned From Leaving Russia, Kirill Serebrennikov Thanks Cannes Crowd By FaceTime at ‘Petrov’s Flu’ Premiere

Christopher Vourlias Kirill Serebrennikov made an appearance by FaceTime on Monday after the premiere of “Petrov’s Flu,” which bowed in competition at the Cannes Film Festival. The 51-year-old helmer is banned from leaving Russia and was unable to attend the opening.“I would like to thank everyone who is here.

‘The French Dispatch’: Wes Anderson Dazzles With A Whimsical New Missive Of Wit & Short Story Delights [Cannes Review] - theplaylist.net - France - Texas - Indiana
theplaylist.net
12.07.2021 / 23:21

‘The French Dispatch’: Wes Anderson Dazzles With A Whimsical New Missive Of Wit & Short Story Delights [Cannes Review]

July 12th, 2021, Cannes – Reader, I ratatat out this missive in haste on my trusty Smith-Corona from the South of France, in the paltry hopes it may adequately convey my delight in viewing the latest cinematographic marvel from Mr. Wes Anderson, originally of Houston, Texas but more latterly resident of a nearby color-coded, symmetrical nebula almost entirely of his own design.

‘Bergman Island’: Mia Hansen-Løve’s Breezy Relationship Auto-Fiction Is A Wisp Of A Film [Cannes Review] - theplaylist.net
theplaylist.net
12.07.2021 / 20:17

‘Bergman Island’: Mia Hansen-Løve’s Breezy Relationship Auto-Fiction Is A Wisp Of A Film [Cannes Review]

There’s a lovely wind that blows across the island of Fårö, Ingmar Bergman‘s actual home for several years, and his spiritual home for several decades. Even in the summer, when Mia Hansen-Løve‘s “Bergman Island” is set, the breeze is constant, cool and a little salt-dampened, tousling Vicky Krieps’ hair, scudding through the tufts of scraggly dune-grass and sweeping majestically across the vast empty spaces where the point of this movie is supposed to be.

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