‘More Than Ever’ Review: Vicky Krieps & Gaspard Ulliel Shine In A Heartbreaking Tale Of Love & Death [Cannes]

Vicky Krieps says, a bottle of Evian in her hand, her hair hidden beneath a pink baseball cap and a brown shawl wrapped theatrically around her neck. “It was like being dropped out of an airplane onto a different planet, or surviving a shipwreck. ” The Luxembourg-born actor is describing her life in the aftermath of Phantom Thread, the 2017 Paul Thomas Anderson film that put her toe-to-toe with Daniel Day-Lewis, as the waitress who becomes muse and lover to his society dressmaker.

The 75th Cannes Film Festival is coming to a close. The two-week festival saw some of the biggest stars and most anticipated films of the year come together to celebrate cinema.

s’il vous plaît!Over at the French film festival on the Cote d’Azur, which wraps up this weekend, it’s long been popular to give comical and undeserved standing ovations to just about anything that could be feasibly called a film. Next year the Claudes and Claudettes will be hopping to their feet for a dancing toad on TikTok (more deserving, honestly, than Lars von Trier.)The trade publications time these performative participation prizes like they’re Olympic runners.

Jury Prize: “Joyland,” directed by Saim SadiqBest Director Prize: Alexandru Belc for “Metronomes”Best Actor Prize (jointly awarded):Vicky Krieps in “Corsage”Adam Bessa in “Harka”Best Screenplay Prize: “Mediterranean Fever,” directed by Maha HajCoup de cœur Prize: “Rodeo,” directed by Lola Quivoron

Guy Lodge Film CriticFrench film “The Worst Ones (Les Pires)” is the surprise winner of the top prize at this year’s Un Certain Regard awards ceremony, with Italian actor-director Valeria Golino and her fellow jurors also handing prizes to Pakistani breakout “Joyland,” Romanian drama “Metronom” and “Corsage” star Vicky Krieps.

In Hirokazu Kore-eda’s Palme d’Or winner “Shoplifters,” a group of small-time thieves forms their own makeshift family, living every day not only through pure survival instinct but a genuine love for each other. For his first film set in Korea, the Japanese filmmaker reflects on similar themes in “Broker,” a road trip odyssey reflecting on the family we choose and the family we tearfully let go of.

Unlike most films and series set in Naples, “Nostalgia” really does show us the city like we’ve never seen it before: from the melancholy perspective of someone who left forty years ago. Italian director Mario Martone makes the astute and powerful decision not to make this immediately obvious, opening the film with a stunning sequence showing a man (Pierfrancesco Favino) silently arrive in and explore the city at night.

Cristiano Ronaldo's girlfriend, Georgina Rodriguez, made her first public appearance since she and the Manchester United soccer star announced the death of their infant son. Rodriguez took to Instagram to share some snaps from the Cannes Film Festival in France.

Based on her own time spent in the acting school Les Amandiers, Valeria Bruni Tedeschi’s “Forever Young” aims to recreate a very specific time and place both in her life and in France, more than it cares to inform her audience about what, exactly, was so special about this school. Funded in the 1980s by Patrice Chéreau, a successful and daring director of theatre, opera and film, Les Amandiers did not last very long but for a few years it was considered to be one of the most exciting places in France and even Europe for young actors to develop their crafts, and for directors to find new talent.

Observed in isolation, detached from the body or in extreme close-ups, organs and other vital viscera resemble moist masses of soft tissue plucked from alien landscapes in the unflinchingly immersive medical documentary “De Humani Corporis Fabrica.” Alternating between footage from cameras inserted into patients for the purpose of treating ailments and grisly shots from the operating room, directors Verena Paravel and Lucien Castaing-Taylor, the team behind the striking non-fiction film on fishing “Leviathan,” apply their fascination for uncanny imagery with relativist intent to the inner workings of French hospitals and, in turn, the human body.

“Tori and Lokita” opens on a tight close-up on the teenage Lokita (Joely Mbundu) as she struggles with the questions delivered by an immigration officer. She has fabricated a story about how she found her brother, Tori (Pablo Schils) in an orphanage, but no one believes her.

Deadline’s studio at the 2022 Cannes Film Festival kicked off at the American Pavilion by hosting fest-goers such as Joel Edgerton of The Stranger, Jesse Eisenberg and Julianne Moore of When You Finish Saving The World, and many more. Click on the photo above to launch the gallery.

A balloon shaped like a heart flies from the open window of a taxi. It is late at night and the woman (Leila Hatami) who this gift was bestowed upon simply couldn’t care less about the useless trinket, far more interested in comparing the quality of the accompanying chocolate boxes dispensed by a handful of men who wish to have her as a Valentine.

It’s the plight of the plightless: a kid from a comfortable, upper-middle-class background wants to be some manner of artist, except that he’s (and it does seem to be a he more often than not) bereft of the experience, grit, or outsider credibility that define the role models he hopes he could one-day call influences. He ventures out into the big bad world in search of something to put a bit of hair on his creative chest, only to face the spiny question of whether this effort to get real is just class tourism, a jaunt in the gutter that one phone call to Dad could prevent.

It’s the plight of the plightless: a kid from a comfortable, upper-middle-class background wants to be some manner of artist, except that he’s (and it does seem to be a he more often than not) bereft of the experience, grit, or outsider credibility that define the role models he hopes he could one-day call influences. He ventures out into the big bad world in search of something to put a bit of hair on his creative chest, only to face the spiny question of whether this effort to get real is just class tourism, a jaunt in the gutter that one phone call to Dad could prevent.

David Cronenberg has unfinished business with the future, which is tricky, seeing as it already constitutes a significant slice of his past. His new film — titled “Crimes of the Future,” as in committed by rather than during that span of time — finds the master on the other side of his extended sojourn in high-minded literary adaptation, biopic quasi-prestige, and Tinseltown satire, back to playing the body-horror hits on which he made his name.

Director Emily Atef’s Cannes Un Certain Regard drama More Than Ever is a careful, fastidious, Tradition of Quality film about impending death that’s easy to admire but won’t exactly pack ‘em in.

It’s a very big day for Riley Keough!

For all their faults, the 2020s are shaping up to be a welcome celebration of actor Vicky Krieps. The Luxembourg actress is perhaps best-known with domestic audiences for her performance in Paul Thomas Anderson‘s “Phantom Thread,” but with 2021’s “Bergman Island” and a pair of 2022 Cannes Film Festival titles (“Corsage,” “More Than Ever“) under her belt, she seems poised to enter that rare stratosphere of performers who move between national cinema and Hollywood with ease.

IFC Films has nabbed North American rights to “Corsage,” Marie Kreutzer’s bold costume drama starring Vicky Krieps as the Empress Elisabeth of Austria known as Sissi. Represented in international markets by MK2 Films, the movie world premiered at Cannes’ Un Certain Regard and earned unanimous praises.