Blog Archives

7/21/2019

3 Days in Cannes: Day 3

Read Now

Even though we stayed out long past midnight, we were up early once more with our final day in Cannes. The final day of our accreditation program coincided with the final day of the festival, which meant the primary venue was screening the "best of fest" films. This gave me the opportunity to see the film that won Best Actor, (Antonio Banderas, Pain and Glory) Best Actress (Emily Beecham, Little Joe) and the ultimate winner of the prestigious Palme d'Or. (Bong Joon-ho, Parasite) Quite an action-packed day that started bright and early at 8 AM!

Pain and Glory

Pain and Glory (2019): A film director reflects on the choices he's made in life as past and present come crashing down around him.

Pain & Glory is the latest film from famous Spanish director Pedro Almodóvar, and the fame shows. The film stars established Hollywood actors Antonio Banderas and Penélope Cruz. Banderas plays the famous Spanish director, Salvador Mallo, in his physical decline and simply follows him around a few weeks of his life, with the occasional flashback to his younger years. The film is excellent, but, whether it be because I saw it at 8 am on the last day in an utterly exhausted state or because the events that unfold aren't overly compelling, the film has failed to resonate with me after the end credits. I do want to give this film another chance: Almodóvar is a very famous director in Spain and excels at crafting intimate and charming character dramas. But here he seems to be appealing directly to the audience that would go to Cannes. The film shamelessly appeals to upper echelon movie insiders, with a lead who's yearning for his days as a director and plenty of film acting / directing references littered about. I personally enjoyed it, but at points it felt overly pretentious and may turn off ordinary (aka those not attending Cannes or another prestigious film festival) viewing audiences. That said, it's still a well-made film with a demanding performance from Antonio Banderas, and well worth Best Actor at the festival. It's no Marcello Fonte, (Dogman) but the recognition of an actor like Banderas portraying a famous figure in the film community certainly helps his case. Oh, and editing and use of flashbacks are excellent. As is Penélope Cruz. It's wonderful, just….. slightly pretentious.

My Number: 7.5/10

Parasite

Parasite (2019): All unemployed, Ki-taek's family takes peculiar interest in the wealthy and glamorous Parks for their livelihood until they get entangled in an unexpected incident.

The latest from Joon Ho Bong (who’s previous works include Okja, The Host, Mother, and Snowpiercer, to name a few) won the Palme d’Or at this year’s festival, and after watching the film I can see why. This film has crowd-pleaser written all over it and is the tale of two halves: the movie starts as a raucous when a family ripped straight from It’s Always Sunny in Philadelphia integrates themselves, one by one, with an upper class Korean family. This sequence is complete with some wonderfully comedic bits, intentionally overdramatic montages, and an intentionally hilarious overserious tone. We were rolling on the floor laughing in the first half, but before you know it…. Bong Joon-ho has you by the neck and when the film gets real….. It turns the tension up to 11. The turn here is sudden and abrasive - in our room you could hear the audible gasps at this very specific and heart-stopping moment. From that moment on, this film turns into a gripping drama with a powerful message about the rigid class structures found throughout the world and what we’ll do to try and preserve our families through the insanity of it all. The second half is every bit as effective as the first, complete with a climax that will actually take your breath away. I cannot recommend this film enough: even for those intimidated by having to read subtitles, it’s worth a watch simply because of how sheerly entertaining the overall film is. You’ll laugh, you’ll cry, you’ll be on the edge of your seat, you'll be glued to the screen from start to finish. What more could you want in a film? This and Portrait of a Lady on Fire have stuck with me more than any other film out of Cannes 2019, and I suspect they will continue to resonate long into awards season. Remember this one, for it will assuredly be a heavy hitter for Best Foreign Film of 2019.

My Number: 10/10

The queue for Parasite was absolutely insane. And this was before it officially won the Palme d'Or.

Little Joe

Little Joe (2019): Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. Against company policy, she takes one home as a gift for her teenage son, Joe.

Feel like watching a film about plants coming to kill us all? Then do I have the movie for you! The last film I saw at Cannes 2019 could not have been a more fitting one: a ridiculous but lovable British film starring Ben Whishaw and Emily Beecham. (Who won Best Actress at Cannes) Its premise is exactly why I was at the festival: a film like this may never see the light of day in Cincinnati - after all, who wants to watch a film about plants that infect your mind when you smell them - but the ride here is about as zany as you would respect. These plants (the Little Joe's, and yes I could not shake the, "You can trust a working Joe" out of my head…. Thanks, Alien.) turn you into a hilariously cheesy 1950s infomercial when you smell them, and make you even willing to kill for them because what else would you expect a plant to do? That said, the film is rooted in a good performance from its lead and some utterly hilarious dialogue between her and the people infected. (Though, I'm not entirely sure if this hilarity was intentional or not.) I think this film, like Wounds, is destined for cult status, despite not having the same unbelievable star power behind it. (Seriously, Armie Hammer / Dakota Johnson / Zazie Baetz. Why.) But this is a fun group watch, perfect for a night in with friends and checking out the most ridiculous thing you can find on Netflix. It does have something of a meaning behind it, however this meaning is largely lost at the hands of the fact that it is, you know, about plants. Trying to infect people's minds. Also, the score was COMPLETELY out of place. There's like this weird Oriental score that compliments the film, yet the film doesn't feel at all Asian outside of this so it just feels misused. Yay, cultural appropriation! It's worth a group watch on a Netflix + drinks kind of night, but that's it. You will be pretty miserable if you watch this by yourself. Fair warning.

My Number: 4/10

And with that, our journey through the wonderful world of Cannes came to a depressing end. For 3 delirious days, we were at the pinnacle of the movie world: not watching the cultural conversation through the lens of social media, but actually at epicenter of it all. It was nothing short of incredible, and something which I look forward to repeating next year in my final year of eligibility for this program. Till next year, Cannes!

The intro that greeted us before every film during the festival. It's kind of cheesy, but it's undeniably iconic.

0 Comments

7/13/2019

3 Days in Cannes: Day 2

0 Comments

Read Now

After sprawling out on a Mediterranean beach until the wee hours of the early morning drinking cheap wine with great company, our journey through Cannes continued with an early morning screening of the new Terrence Malick film, A Hidden Live. At least, it should have. The film gods had something else in store for my early morning screening.

Chambre 212 (On a Magical Night)

Chambre 212 (2019): After 20 years of marriage, Maria decides to leave. She moves to the room 212 of the hotel opposite her marital home. From there, Maria can scrutinize her apartment, her husband, her wedding. She wonders if she has made the right decision.

So before I talk about this film, let me set the scene for you: I'm exhausted. It's before 8 AM, and I'm about to head into a 3 hour Terrence Malick film. I, like any rational human being, need coffee. So, I go to a cafe while my friend / Cannes roommate Ben waits in line for A Hidden Life. Unexpectedly, the organizers let those waiting for the Malick film in a full 45 minutes before the film was scheduled to begin. (Usually, the festival would be "on time" if it let people queuing into a film 15 minutes before it starts.) I miss my friend Ben by less than 60 seconds. Then, the theater filled up 5 people in front of me. I am shook. In my dejected state, with no Malick in my future, I search the Cannes program for a film to watch in its stead, and stumble upon Chambre 212. And I'm glad I did.

This lovely little French film comes from director Christophe Honoré, an established Frenchman most recognized for 2018's Sorry Angel, and, while I haven't seen that film, this one is incredibly funny and touching. A wonderful little date night film, Chambre 212 follows a married couple as they struggle through the strains of marriage after the husband discovers the wife has been cheating on him. The film takes place over a single night, with Christmas Carol-esque visions coming to both characters throughout the brisk 86 minute runtime. The story is a clever one, so despite each character coping with the trauma in their own way, the characters involved feel small and intimate. (Thanks to the fact that their stories often overlap.) There are some antics and hijinks, and physics are thrown completely out the window, (so expect nothing) as the film flies through its setpieces. It's one of those films that you thoroughly enjoy while it's playing, but the second it's done you forget about it because it's not saying much that's particularly resonating. But that's ok! It makes you feel good, while not also trying to be "important"! (Cough cough, GREEN BOOK) The film really lacks an overall cohesive message as the tone is somewhat inconsistent. And there's entirely too much drama between the visions each have, which is cute but adds little to the overall narrative. Which, coincidentally, sums up Chambre 212: very cute, but doing little to resonate as soon as it's over.

My Number 7/10

Some of my fellow accreditation members!

Il Traditore (The Traitor)

Il Traditore (2019): The real life of Tommaso Buscetta the so called "boss of the two worlds", first mafia informant in Sicily 1980's.

Woof. Then there's this film from legendary Italian director Marco Bellocchino. A film which plays very differently for Italian audiences, but sadly for a lowly American such as myself…. It was 145 minutes of nothing. 145 minutes of frustrating inconsistency. The film finds its stride in the second act, as the main protagonist Tommaso Buscetta (Pierfrancesco Favino) faces a serious of high production budget court battles and actor Favino really hits his stride. However, there also a first and third act. And both of them are like a clusterbomb of incoherency. The first act in particular features some of the worst editing I've ever seen, (Bohemian Rhapsody ain't got nothing on this) with random characters being introduced and then killed moments later with no rhyme, reason, or explanation. Yes, I'm just as tired of films that hand fist dialogue to you as the next person, but there's still a line somewhere. A line this film flies by within the first 5 minutes. I'd love to see someone count up how many characters were introduced and killed in the first act because the answer may be over 9000. But, there are some engaging court scenes here in the remaining two acts. A bright spot in an otherwise dark cloud of a film, and for us American plebians who don't truly appreciate the character and trial scenes at hand, there won't be much here to keep you engaged. Solid pass.

My Number: 4/10

The Lighthouse

The Lighthouse (2019): The story of an aging lighthouse keeper named Old who lives in early 20th-century Maine.

So I really wanted to sit with this film, so I’m actually writing this review over a week later. The fact that this film has resonated with me as much as it has is yet another testament to how strong it really is!

The latest (and greatest) work from director Robert Eggers (who’s first work, The Witch, also garnered widespread critical acclaim) comes in the form of a crazy, mesmerizing, polarizing 35 mm film, in black & white, with a 1.19:1 movetone aspect ratio starring Robert Pattinson and Willem Dafoe. Because how else are you going to follow up a film about a 17th century New Englad folktale? The Lighthouse is a wild ride - a fascinating character study wrapped up in a psychological thriller - that needs to be seen to be believed. I really don’t want to talk about any of the inner workings of this film, because the less you know about it going in, the better it will be. I’ll just say there’s no doubt this will be a polarizing film - A24 snatched it up and is gearing it up for an awards season release, and I can see why. This film lives and dies off the performances of Thomas Wake (Willem Dafoe) and Ephraim Winslow. (Robert Pattinson) Their hilariously bipolar relationship is the foundation of this film. Dafoe sports one of the thickest sea-worthy accents you’ll ever hear, (further cementing him as one of the best character actors alive) while Pattinson’s near demonic presence can be felt regardless of whether he’s actually on screen or not. Both of these performances are a masterclass, and the events that unfold between them are not only memorable and iconic, (the freaking seagull, man) they vary wildly across the emotional spectrum. The strongest part of this film (and what will also be the most polarizing aspect of it) is its unpredictability - even as the credits roll the viewer will struggle to discern what was real and what was a figment of the mind. But it really is wildly refreshing to see a film of this ambiguity be made in the American cinema system, and it firmly establishes Robert Eggers as one of the most intellectual and cunning directors in Hollywood today.

My Number: 9.5/10

Our group queuing for The Lighthouse. at the Director's Fortnight We waited nearly 3 hours to see this incredible film!

With two days under our belt, we once again celebrated by drinking cheap wine on one of Cannes's beautiful Mediterranean beaches. Not a bad way to wind down, right? On to the final day, which coincided with the final day of the festival itself.

0 Comments

7/3/2019

3 Days in Cannes: Day 1

0 Comments

Read Now

The first real day of my adventure in Cannes began bright and early with a 9 AM screening at the venue's premier theater, the Grand Theatre Lumiere, for a screening of Xavier Dolan's latest work. We also had a chance to see a film at another venue, the Salle Debussy, which on the outside looks like a tent, but on the inside had some of the best seats in the entire festival. We also took advantage of our accreditation program and saw two films at the Les Arcades, including the best film I saw at the entire festival. Onward!

Matthias & Maxime

Matthias & Maxime (2019): A drama focusing on a group of friends in their late 20s.

My first In Competition screening at Cannes goes to visionary young filmmaker (and actor) Xavier Dolan's latest work. This is may first experience with Dolan, a young Canadian filmmaker known for his heartfelt, genuine, and emotionally moving stories. Matthias & Maxime had the potential to be another such entry, but it falls short focusing entirely too much time on its "Will they or won't they?" Premise. The story focuses on two men coming to grips with their sexuality with the impending departure of one of them, but most of the film centers around their individual struggles to come to grips with their sexuality, versus discovering it together. This approach, certainly from the eyes of a straight white filmmaker, is a frustrating one, despite the fact that the story told is fairly engaging. The strength of this film is in the bonds of its friendships, both with the title characters and the people around them. Everyone feels fleshed out and personal, despite some only having 3 or 4 lines of dialogue. But, the decision to delegate this premise to a "Will they or won't they?" story with two gay characters for the majority (don't worry: a film showcasing what happens when you move past this quickly is forthcoming) makes this film feel lazily familiar, despite its strengths.

My Number: 6/10

The view inside the Grand Theatre Lumiere. Easily a 2k capacity movie theater!

Nina Wu

Nina Wu (2019): Nina Wu, a girl who leaves small theatre company in the country for the big city in pursuit of her actress dream.

The first of several heartbreaking films today, Nina Wu is a Taiwanese film that follows its lead character through her struggle to make a film, promote said film, all while trying to rise above the horrific sexism and male dominance of the film industry. In 2019, it is a depressingly relevant film, with a lot of emotionally devastating moments at the expense of the protagonist. Ke-Xi Wu, who plays the film's title character, (and also co-wrote the screenplay) is exceptional. Easily the best performance I've seen at Cannes to this point, (I'm writing this review Friday AM, with about 5-6 films left to see) Ke-Xi Wu's performance is raw, enduring, pragmatic, and demanding…. And that's before you even consider the heartbreaking events that happen to her throughout the film. From the first moment, I was sucked in by this performance, a performance that will at least endure with me for the rest of the festival. (Of course, it has nothing on Armie Hammer in Wounds, but that goes without saying.) That said, I do believe director Midi Z was slightly too ambitious with the overall narrative, as there's a few too many points left unexplained and simply untenable at points. But, the further I've separated myself from this film, the less this ambition has bothered me. Third act issues aside, (that's where many of the zealousness occurs) this film is good, maybe even great, held together by a powerful performance and a wild ride.

My Number: 7.5/10

The view inside the Salle Debussy venue.

Sorry We Missed You

Sorry We Missed You (2019): A hard-up delivery driver and his wife struggle to get by in modern-day England.

I'm moving right along with these reviews. (Can you tell I found a cafe to catch up at?) It continues to be Friday AM, and to this point the latest film from Ken Loach is my number one film at the festival so far. Sorry We Missed You is an emotional trainwreck, a devastating look at a British blue collar family working 90 hour weeks while struggling to keep the apartment together. Its completely captivating from the first moment to its last and the only film that's elicited a solid ugly cry from yours truly. (Though that may be because I have a cold, dead heart.) Ken Loach's strength, similar to Xavier Dolan, is in the genuineness of his characters. And because Loach keeps his story deeply intimate, the emotion payoffs and heartbreaks are felt that much more. The acting is exceptional, with Ricky, (Kris Hitchen) Abbie, (Debbie Honeywood) Seb, (Rhys Stone) and Lisa (Katie Proctor) all excelling. They all benefit from a master auteur (Ken Loach has won multiple Palme d'Or's in his career, and may be hoisting another tomorrow) impeccable directing: every scene, every cut, every shot feels deliberate and intentional. The only complaint I had was some of the dialogue felt forced: there were a few moments of hand-fisting dialogue (seemingly) to ensure the viewer knew what was going on. But these errors were few and far between. This British film is well worth your team and my first must-see recommendation of the festival. Go see it when it comes to theaters later this year.

END OF FESTIVAL UPDATE
I wanted to add a quick blurb on this review, because while films like Portrait of a Lady on Fire, The Lighthouse, and Parasite have stuck with me long after the credits finished rolling, this film has not. That’s not to take away from the harrowing events depicted here at all. This is a marvelous film, but it’s also a surprisingly fleeting one.

My Number: 9/10

The schedule at the Arcades, a program set up exclusively for those in the accreditation program

Portrait of a Lady on Fire

Portrait of a Lady on Fire (2019): On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.

ALMOST not to be outdone by Sorry We Missed You is the film Matthias & Maxime should have been. A powerful queer drama that spends far more time focusing on its pragmatic characters discovering each other and their sexualities together than separately, all wrapped up in the best filmmaking I've seen at Cannes so far. The actual craft here is incredible: think Call Me By Your Name but with a vastly superior story. (Yes, I know.) The cinematography is second-to-none, with one scene in particular around a fire between our main protagonists standing out. (And also EASILY the best scene I've seen in a film since the beach sequence of Roma.) How the main characters interact with each other is wonderfully and masterfully represented visually by director/writer Céline Sciamma and her cinematographer, Claire Mathon. This film, starring women, filmed by women, with almost no male characters whatsoever, (I'm fairly certain there's exactly one line from a man the whole film, and it's a rather dunce-looking dude saying "Bonjour!") is cinematic briliance. While it spends some time on the "Will they or won't they?" Aspect, (about its only notable fault) once Marianne (Noémie Merlant) and Héloïse do begin their relationship Sciamma turns it up to 11 with a mesmerizing film. I also have to focus on Héloïse for a moment. There's a certain gravitas to her that is absolutely stunning. From her 🔥 costumes (well done, costume department) to her unwavering personality, she is probably the best written character I've seen at the festival so far. Marianne is great too, but Héloïse is straight 🔥. My second must-see recommendation from Cannes, I can certainly see why some are calling it the best film this festival has to offer. And if it were it not for the overlong "Will they or won't they?" Shenanigans, I'd probably agree with them.

END OF CANNES UPDATE
So, I must say, the further I've gotten away from this film, the more I have fallen in love. Yes, it spends a hair too long on the somewhat ordinary opening, but after that this film is a legend. It's resonated with me more than any other film at this festival, and is safely my number 1 film I saw at Cannes 2019.

My Number: 10/10

The view from the top of the Festival de Palais, the primary venue at Cannes

0 Comments

3 Days in Cannes: Day 3

Pain and Glory

Parasite

Little Joe

3 Days in Cannes: Day 2

Chambre 212 (On a Magical Night)

Il Traditore (The Traitor)

The Lighthouse

3 Days in Cannes: Day 1

Matthias & Maxime

Nina Wu

Sorry We Missed You

Portrait of a Lady on Fire

Genre

Date Reviewed

3 Days in Cannes: Day 3

Pain and Glory​

​Parasite

Little Joe

3 Days in Cannes: Day 2

Chambre 212 (On a Magical Night)

Il Traditore (The Traitor)

The Lighthouse​

3 Days in Cannes: Day 1

​Matthias & Maxime

Nina Wu​

​Sorry We Missed You

​Portrait of a Lady on Fire

Genre

Date Reviewed

Pain and Glory

Parasite

The Lighthouse

Matthias & Maxime

Nina Wu

Sorry We Missed You

Portrait of a Lady on Fire