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Cannes Daily Round-Up: Day 2

By Crimson Arts Staff
By Steven S.K. Hao and Tianxing V. Lan, Crimson Staff Writers

Tianxing V. Lan ’18:

Having slept for less than six hours, I get up at 7 a.m. and rush to the line for the 8:30 a.m. press screening of “Rester Vertical (Staying Vertical).” If I am still half-asleep when I arrive at the Grand Théâtre Lumière, the film immediately wakes me up—and not in a completely pleasant way. The absurdist French comedy features very graphic, matter-of-fact sex scenes, as well as one involving childbirth, earning a reception equal parts applause and confused murmurs as the credits begin to roll.

Read more in Vincent’s review of “Staying Vertical”: “When the audiences at Cannes are shocked by a film’s graphic nature, that’s saying a lot—but French director Alain Guiraudie’s new film, 'Rester Vertical (Staying Vertical),' manages to achieve just that.”

After “Rester Vertical,” I am able to catch up on Woody Allen’s “Café Society.” Most films in Cannes’s official selection have three rounds of screening—an advanced press screening, the official red carpet premiere, and a second-round screening after the premiere––so even though I missed the first two screenings the day before, I am still able to attend the second-round screening today. I find the film very sweet and adorable, one of Allen’s finest since “Vicky Cristina Barcelona.” After “Café Society,” I am finally able to pick up the suitcase I left at the Palais the night before and take a break back at my apartment to enjoy a well-deserved bath. The weather on the French Riviera is warm and lovely, and from the terrace I can see the whole town spreading along the gorgeous coastline.

Of course, there isn’t much time for me to rest. At 4 p.m., I’m back at the Palais again for “I, Daniel Blake.” Directed by English realism master Ken Loach, the film focuses on an unemployed but optimistic working-class hero as he fights against bureaucracy and helps others in need.

Read Steven's review of "Money Monster": "'Money Monster' is a largely unambitious film that does little new. What it does do, however, it does reasonably well."

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