Cannes
emma.simmonds
In the 1960s the Kiwi cartoonist Kim Casali started the comic strip Love is… which mawkishly defined love in a series of statements like, “Love is…being able to say you are sorry” - messages still printed on Valentine’s cards to this day. In Austrian auteur Michael Haneke’s Palme d’Or winning latest, however, love is measured and told in pain: amour means longevity, dedication and the willingness to make difficult decisions. Try putting that on a greetings card.Haneke’s twelfth cinematic feature is a triumph of both simplicity and daring. Amour tells the poignant story of Georges (Jean-Louis Read more ...
Tom Birchenough
Three hours is a testing length for any film. Directors may stretch to that because they’re telling a huge story with plenty of plots and characters, but in Aurora, Romania's Cristi Puiu pares down plot, such as it is, to an absolute minimum. Elements of semi-documentary set in, as we watch his hero Viorel (played by Puiu himself in his first screen role) move disaffectedly through contemporary Bucharest. He takes the first half to bring himself to action, the alienated coldness of which, when it comes, leaves us stuck in his troubled soul – and, by extension, the soul of his city.The only Read more ...
Tom Birchenough
Elena is a story of two households, two families each unhappy in their own ways. Linking them is the title character (played by Nadezhda Markina, outstanding in a screen role that could have been written for her) who moves between two very different worlds that both speak truthfully about contemporary Russia. Zvyagintsev has changed tone from his more philosophical festival-winners The Return and The Banishment, but the sheer visual mastery of those two remains central in this film where family tension is more down to earth.The director has worked throughout his career with cinematographer Read more ...
Demetrios Matheou
Sightseers is the third film by the young British director Ben Wheatley and the first that might be deemed a comedy; that said, as befits the man who made Down Terrace and Kill List, it is a decidedly twisted one.Chris (Steve Oram) and Tina (Alice Lowe) are a new couple embarking on their first holiday together, a caravan trek around the country to visit his favourite sites. The Critch Tramway Museum and the Keswick Pencil Museum may give some cause to yawn, but this is a big deal for Tina, who is desperate to escape the clutches of her monstrous mum.Unfortunately, she has merely exchanged Read more ...
Demetrios Matheou
It’s quite a coincidence when two of the competition films in Cannes take place almost entirely within a stretch limousine. Then again, considering that the movie stars here travel the most ridiculously short distances in such vehicles, it’s entirely appropriate. Following on from Holy Motors, in which the limo doubled as a changing room for an actor-for-hire as he’s driven between assignments, in David Cronenberg’s Cosmopolis it serves as office, doctor’s surgery and love nest for a Wall Street billionaire on a 24-hour self-destruct.Adapted from Don DeLillo’s novel, this features Robert Read more ...
Demetrios Matheou
The last time that actor Brad Pitt and New Zealand director Andrew Dominik teamed up it was for the epic and elegiac western The Assassination of Jesse James by the Coward Robert Ford. Their new one, in competition in Cannes, couldn’t be more different.Killing Them Softly is a short, sharp, entertaining crime thriller, with a built-in commentary on America in the shadow of the economic crisis – a situation, of course, created by crooks by another name. Brad Pitt plays a freelance enforcer, Jackie Cogan, called to Louisiana to discover who robbed an illegal card game, a deed that has resulted Read more ...
Demetrios Matheou
Michael Haneke likes to challenge and provoke us, whether it’s with intellectual puzzles (Hidden), bleak character studies (The Piano Teacher) or a brand of horror that makes us feel uneasily complicit (Funny Games). He’s a brilliant director, and a tough one. So while Love may not be a sudden ray of sunshine, it still feels like a departure for the Austrian, a softening of the provocateur, in which he eschews his customary ironic distance for an intimate and essentially positive account of love in adversity. It is as immaculately made as ever, but also touching and terribly sad, with two Read more ...
Demetrios Matheou
It’s a normal day in Cannes, which means that I’ve just chatted to Mexican heart-throb Gael García Bernal on the beach, while a mini sand storm battered the doors of our marquee. Bernal is in town with his new film, No, about the events leading to the fall of Chilean dictator Augusto Pinochet. But he took a moment to reminisce about his first year here, in 2000, when Amores Perros took Cannes by the scruff of the neck. The film that helped to ignite the Mexican New Wave was not even in the official competition that year, but it was the title on everyone’s lips.As the first week of this Read more ...
Demetrios Matheou
It's a real pleasure to see Tim Roth strutting his stuff in Cannes, on screen and off. Roth knows the place well, having been here as an actor in Pulp Fiction, and as the director of The War Zone. This year he’s president of the jury for the un certain regard section of the festival – the second rung of the official selection, but often containing the more adventurous material. The role suits a man whose own career choices have been constantly edgy and surprising. “I’m hoping and expecting to find our deliberations excruciating,” he declares wonderfully in the programme.Roth is also starring Read more ...
Demetrios Matheou
The first full day of Cannes started with a cracker, appropriately by a Frenchman and one of my favourite contemporary directors, Jacques Audiard. Rust and Bone features a love story between a woman who’s had her legs bitten off by a killer whale and a man who makes his living from illegal street fighting. It ought to be preposterous; Audiard, typically, makes it profound.It opens with Ali (Matthias Schoenaerts) on the road with his five-year-old son Sam, stealing food from diners, on the way to his sister in the resort town of Antibes. We never learn much of Ali’s back story, or Sam’s mother Read more ...
Demetrios Matheou
The 65th edition of the Festival de Cannes opens today, with Wes Anderson’s latest slice of leftfield whimsy, Moonrise Kingdom, and continues for almost two weeks of frantic film-going, star-spotting, wheeler-dealing and beach partying. For these days in May a usually somnolent seaside town becomes the cinema city that never sleeps.Cannes is still the world’s leading film festival, for good reason: the best directors in the world want their films to premiere here; everyone else has to wait in line. Of course, the festival doesn’t always deliver – one can never know. But this year’s selection Read more ...