Tag: 2019 Cannes Film Festival
Lux Æterna | Review
Devil’s Familiars: Noé Stirs a Witches’ Brew in Latest Provocation
For those familiar with cult auteur Gaspar Noé, one either has a taste for his...
Sibyl | Review
Doctor Strange: Triet Gets Tricky with Autofiction Affair
Reuniting with Virginie Efira, the lead from her 2016 sophomore breakout Victoria (aka In Bed with Victoria),...
Matthias and Maxime | Review
Peas & Carrots: Dolan Gets Caught in a Bad Romance
Xavier Dolan devotees will be happy to note his latest feature, the treacly melodrama Matthias...
On a Magical Night | Review
A Room with a Screw: Honoré Waxes Playful on Marital Discord
The flexibility (or lack thereof) of fidelity in heteronormative relationships is at the center...
Bull | Review
If There Be Horns: Silverstein Succeeds with Discerning Debut of Rural Desperation
Likely to be compared to Chloe Zhao’s 2017 breakout The Rider, director Annie...
Bacurau | Review
It Takes a Village: Filho & Dornelles Smash Art-House into Grindhouse
A heady melding of local cultural motifs, morbid politically-minded histories and exploitation slasher vibes,...
The Whistlers | Review
If I Want to Whistle, I Whistle: Porumboiu Goes Mainstream with Neo-noir
Romanian New Wave alum Corneliu Porumboiu makes a marked departure with his latest...
Young Ahmed | Review
Stabbing Backwards: Dardennes “Beet” Misguided Youth into Submission
Up until now, even the most disenfranchised personage in Dardennian cinema had at least a glimmer of...
Interview: Kantemir Balagov – Beanpole
We sat down with director Kantemir Balagov at the 2019 Cannes Film Festival following the premiere of his sophomore film Beanpole in Un Certain...
Beanpole | Review
Life After Wartime: Balagov Crafts Exemplary Portrait of Post-WWII Role of Women
In the words of Plato, “Only the dead have seen the end of...
Little Joe | Review
Stamen Alive: Hausner Examines the Pursuit of Happiness in Cerebral Sci-Fi
It was “the nightmare that threatened the world” and something that came from “deep...
Frankie | Review
A Death in the Family: Sachs Sacks Huppert in Sun Dappled Soap Opera
The latest film from American director Ira Sachs is set in the...
The Lighthouse | Review
I Can Hear the Mermaids Singing: Eggers Unleashes a Hyper-Stylized Portrait of Nautical Madness
Virginia Woolf (who, having known something about the subject and its...
Once Upon a Time in Hollywood | Review
California Dreamin’: Tarantino Dons Nostalgic Pastiche of Doomed Decadence
The lurid fascination and mildewed devotion for the transitional glory days of late 1960s Hollywood, informed...
The Dead Don’t Die | Review
Fear the Mocking Dead: Jarmusch’s Zombie Sketch is DOA
“The world is perfect. Appreciate the details,” says deliveryman RZA (in one of the film’s many...
La femme de mon frère | 2019 Cannes Film Festival Review
Is There a Doctorate in the House? Chokri Skids and Skates without Moving
Moving from her award-winning short Quelqu'un d’extraordinaire (2013) debut which dealt with...
Oleg | 2019 Cannes Film Festival Review
Immigrant Song: Kursietis Explores a Modern Slave Trade in Sophomore Film
Latvian cinema seems on the verge of an international breakthrough, with various new directors...
The Conversation: The Best of Cannes 2019
Zombies. The Undead. Reincarnation. These were some of the central themes and motifs displayed throughout an alarming amount of films in the 2019 official...
2019 Cannes Critics’ Panel: Our Jury Rank Parasite Top Film of Cannes Comp
We have a match! Alejandro Gonzalez Inarritu's jury and our 2019 Cannes Critics’ Panel agree that the best film of the 2019 comp selection...
2019 Cannes Critics’ Panel: Day 12 – Justine Triet’s Sibyl
And the final film to roll out of the competition this year belongs to that of Justine Triet. She came to fiction film by way...
2019 Cannes Critics’ Panel: Day 12 – Elia Suleiman’s It Must Be Heaven
With a decade between features, Palestinian filmmaker Elia Suleiman's has been a Cannes mainstay when you see that his four last film projects have...
2019 Cannes Critics’ Panel: Day 12 – Abdellatif Kechiche’s Mektoub My Love: Intermezzo
Who knew that after claiming the top prize in 2013 with Blue is the Warmest Color that Abdellatif Kechiche would almost attain some sort...
2019 Cannes Critics’ Panel: Day 11 – Marco Bellocchio’s The Traitor
Master filmmaker Marco Bellocchio returns to Cannes (he was last there for 2016’s Sweet Dreams - a Directors’ Fortnight entry) for what will be...
The Traitor | 2019 Cannes Film Festival Review
Witness for the Prosecution: Bellocchio Delivers Vigorous Portrait of the Man Who Took Down the Cosa Nostra
Italian auteur Marco Bellocchio, on the verge of...
Mektoub, My Love: Intermezzo | 2019 Cannes Film Festival Review
Dancing…Yeah: Kechiche Spins Like a Record Round in Vacuous Sequel
The French-Tunisian director who won the 2013 Palme d’Or for Blue is the Warmest Color...
2019 Cannes Critics’ Panel: Day 10 – Arnaud Desplechin’s Oh Mercy!
After La sentinelle (1992), My Sex Life... or How I Got Into an Argument (1996), Esther Kahn (2000), A Christmas Tale (2008), Jimmy P:...
Sick, Sick, Sick | 2019 Cannes Film Festival Review
Lover, Come Back: Furtado Hearts Hemoglobin in Sinister Debut
The heart is a lonely killer in Brazilian director Alice Furtado’s apprehensive narrative debut Sick, Sick,...
2019 Cannes Critics’ Panel: Day 9 – Xavier Dolan’s Matthias and Maxime
Twice in competition and twice a winner, after winning the Jury Prize (unofficial 3rd place) in 2014 for Mommy and the Grand Prix (unofficial...