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Day 7: Live from Cannes: Lost souls in ‘Los Bastardos’

Day 7’s following screening was a film that I had wanted to see even before they announced the selections for the Un Certain Regard – while I’m a huge fan of his first feature Sangre (which also played in the section), unfortunately Amat Escalante’s second film

Day seven’s following screening was a film that I had wanted to see even before they announced the selections for the Un Certain Regard – while I’m a huge fan of his first feature Sangre (which also played in the section), unfortunately Amat Escalante‘s second film didn’t do much for me as it is easily comparable to re-doing Haneke‘s Funny Games for a different setting. Filmed in a style that aesthetically resembles many Mexican productions that have populated Cannes over the years, from the intro title card and accompanying crazed music, to the fact that this is heightened sense of violence and to the fact that this is a home invasion, Los Bastardos comes across as an empty vessel instead of an enlarged window on the difficulties of the immigrant experience. Escalante was on hand for the first 11:00 a.m. screening.

Amat Esclante Los Bastardos Cannes

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Eric Lavallée is the founder, CEO, editor-in-chief, film journalist, and critic at IONCINEMA.com, established in 2000. A regular at Sundance, Cannes, and Venice, Eric holds a BFA in film studies from the Mel Hoppenheim School of Cinema. In 2013, he served on the narrative competition jury at the SXSW Film Festival. He was an associate producer on Mark Jackson’s "This Teacher" (2018 LA Film Festival, 2018 BFI London). In 2022, he was a New Flesh Juror for Best First Feature at the Fantasia International Film Festival. Current top films for 2023 include The Zone of Interest (Glazer), Inside the Yellow Cocoon Shell (Pham Thien An), Totem (Lila Avilés), La Chimera (Alice Rohrwacher), All Dirt Roads Taste of Salt (Raven Jackson).

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