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Cannes Video Day 4: Cam Archer’s Shit Year
We've been talking about this one for so long, glad to have finally seen Cam Archer's sophomore pic and the verdict? Think Jim Jarmusch's early days and Anton Corbijn videos from the late 80's but with a tone that is slightly surreal, slightly candid in the notion of retirement and slightly distilled - the shades of B&W have a dreamy, docu-like quality and makes this a purely art-house theatres.
Cannes Video Day 4: Xavier Dolan’s Les Amours imaginaires
It was a two for two kind of day yesterday. I was there on opening night for I Killed My Mother in the Director's Fortnight section and one year later, almost to the exact date, I'm there again to assist in a true love fest for Xavier Dolan preems Les Amours imaginaires.
Cannes Video Day 4: Jorge Michel Grau’s We Are What We Are (Somos lo que hay)
My thinking is that there is a nice future ahead for this edgy, auteur, little Mexican horror flick and plenty in store for the pic's helmer in Jorge Michel Grau. A film that borrows more from the family drama than the actual freight factors (there are some gore scenes, but it is almost an after-thought).
Cannes Video Day 4: Mike Leigh’s Another Year
Several stories set to the four seasons is where Mike Leigh went with Another Year -- a hard follow up act to follow in the eyes of those who can't think before the cheery go lucky portrait with Sally Hawkins. I kept thinking of Bergman's later films -- and was comforted like what a quilt would do by the on-screen couple of Ruth Sheen and Jim Broadbent: just a healthy, super supportive couple growing old together with a mutual respect for one another and those around them.
Cannes Video Day 3: Diego Lerman’s La mirada invisible (The Invisible Eye)
Winner of the Sundance/NHK Int. Filmmakers Award and part of Cannes' Atelier de la Cinefondation, Diego Lerman's La mirada invisible works from an extremely sharp screenplay, and much like how the Chilean film Tony Manero symbolically made one point by referencing another, this demonstrates that repression doesn't achieve the best of results - whether it's military coup or a young women trying to break free. Photography is crisp and Julieta Zylberberg eventually manages to lasso the viewer onto her side - which is not an easy task with her type of character.
