‘Monster’ Review: Hirokazu Kore-eda’s Time-Hopping Melodrama Movingly Shows The Power Of Perspective [Cannes]

Shawn Mendes and Camila Cabello aren’t looking like exes anymore!

Sideshow and Janus Films have acquired all North American rights for Catherine Breillat’s drama Last Summer (L’été dernier) following its well-received premiere in competition in the final days of the Cannes Film Festival (May 16-27).

Britney Spears has given ex-husband Kevin Federline permission to move out of California with their sons.

The beloved bestseller, “Lessons In Chemistry,” is about to sizzle from the pages to the small screen, and Apple TV+ has officially revealed the premiere date.

Elsa Keslassy International Correspondent Well Go USA Entertainment has acquired North American rights to Kore-eda Hirokazu’s film “Monster” which world premiered in competition at the Cannes Film Festival and and won best screenplay (for Yuji Sakamoto). A critically acclaimed Japanese master, Kore-eda previously won Cannes’ Palme d’Or with “Shoplifters” in 2018 and returned to the competition last year with “Broker” which won best actor for Song Kang-ho. Well Go USA Entertainment plans to release “Monster” in North American theaters in late 2023 or early 2024. Scored by late Oscar-winning composer Ryuichi Sakamoto (“The Last Emperor”) and lensed by Ryoto Kondo (“Shoplifters”), “Monster” tells the story of a widowed mother (Ando Sakura, “Shoplifters) who notices that her young son (Kurokawa Soya) has begun exhibiting strange behaviors. When she brings her concerns to the staff at his school, she discovers that a teacher (Nagayama Eita, “Hara-Kiri: Death of a Samurai”) is responsible and demands an explanation. Told through the multilayered perspectives of mother, teacher and child, the film gradually unveils the truth which proves much more complex than anyone expects.

Owen Gleiberman Chief Film Critic What’s the darkest moment you’ve ever seen in a rock ‘n’ roll documentary? Up until now, I’d have said the answer was obvious: the sequence in “Gimme Shelter” where Meredith Hunter, in his lime-green suit, rushes the stage at Altamont with a gun in his hand and gets stabbed in the back, half a dozen times, by a member of the Hell’s Angels. For pure heart of darkness, what could top that? But I’ve just seen “Anita,” Svetlana Zill and Alexis Bloom’s very good documentary about Anita Pallenberg — beautiful and imperious scenester of the ’60s and ’70s, Hollywood actress and icon of scruffy-chic rock royalty, wife of Keith Richards, muse to several of the other Rolling Stones. And there’s a moment in it that made me suck in my breath in shock and horror as much as “Gimme Shelter” does.

Taylor Swift and Matty Healy are about to take their romance to a whole new level… by becoming roommates! Yeah, you read that right.

Kelly Clarkson is looking for a fresh start when it comes to both her personal and work life.

The official synopsis for Wim Wenders’ “Perfect Days” is one of those rare occasions when a tightly-described premise encapsulates the immensity of a film: a janitor in Japan drives between jobs listening to rock music. In this case, the janitor is Hirayama (Koji Yakusho), an older man whose job is cleaning Tokyo’s elegantly designed public toilets.

Her London boy! Taylor Swift has found something better than revenge after her split from Joe Alwyn — and it’s her blossoming romance with Matty Healy.

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.

The stars of HBO’s highly-anticipated new series The Idol have arrived at the 2023 Cannes Film Festival!

“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.

At 80, Martin Scorsese has finally made a Western, and it packs a wallop. The much anticipated Killers of the Flower Moon had its world premiere on Saturday night at the Cannes Film Festival, an epic set in the Osage Nation of Oklahoma largely in the early 1920s and telling a harrowing and highly complex tale that still resonates today, but seems incredible that it ever could have happened.

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.

The battle for gender equality in the cinema industry is gaining ground but victory is a long way off, representatives of Time’s Up! UK, L.A.-based org ReFrame, France’s Collectif 50/50 and Brazil’s Mulheres group told a panel in Cannes on Friday.

It was a great night for Disney as Indiana Jones And The Dial Of Destiny had a smash debut in its World Premiere Thursday evening at the Cannes Film Festival where the June 30th release received a warm 5 minute standing ovation, especially for Harrison Ford in his swan song in the title role he started playing 40 + years ago. There noticeably to witness the French love and affection was none other than Disney boss Bob Iger attending his first-ever Cannes Festival (believe it or not) and even taking his own photos during the ovation for the movie. At the Carlton Beach after party I told him Deadline had just been the first to post its review, a rave (from our colleague Stephanie Bunbury) and you could see the absolute relief on his face. “You have made me very happy to hear that, ” he told me, and he meant it. All this came on the same day Disney took another shot at Florida Governor Ron DeSantis by announcing the cancellation of a plan to move several thousand California employees to Florida. The Cannes respite must have been nice.

Cannes Film Festival was bursting with powerful auteurs debuting new work and a bevy of titles being prepped for acquisition. From Pedro Almodóvar to Steve McQueen, festival attendees were flush for choice on what to watch — this despite reports that issues with tickets were still happening.

In the throes of Hirokazu Kore-Eda’s latest Rashomon-infused narrative Cannes competition film, Monsters, are two boys learning about their feelings for one another.

Japanese filmmaker Hirokazu Kore-Eda’s seventh go-round in Cannes competition, Monster, received a six-minute standing ovation Wednesday in the Grand Theatre Lumiere. He won the Palme d’Or back in 2018 for Shoplifters. Can he do it again?