Arts
"Une Histoire d'Amour et de Désir" Still
Zbeida Belhajamorin and Sami Outalbali Leyla Bouzid's "Une Histoire d'Amour et de Désir"
From Cannes: Intimacy and Small Spaces in ‘Hytti Nro. 6’
Richard Linklater’s “Before Sunrise” posits that sharing a long train ride with a stranger is romantic. In his sophomore film, “Hytti Nro. 6” or “Compartment No. 6,” however, director Juho Kuosmanen would seem to disagree.
From Cannes: ‘Flag Day’’s Artful, Empty Vignettes of Childhood Trauma
The film’s portrait of the pain of loving someone who repeatedly lets you down is certainly compelling, but beyond that pain, “Flag Day” ultimately has little to say.
From Cannes: Deep Dives into Control and Restlessness in ‘Murina’
In the follow up to her critically acclaimed short film, the Croatian director shines yet again.
From Cannes: 'La Fracture' (The Divide) is a Jumbled Mess of Attempted Social Commentary
The film feels more like a self-gratifying absolution of the French elite than a genuine attempt to problem-solve the issues that led to the gilet jaunes protests.
From Cannes: ‘Benedetta’ is a No-Holds-Barred Sexual Fantasy
Without a doubt, “Benedetta” excavates the homophobia, sexism, and sexual repression attached to Christianity in visceral, wildly-imaginative detail. But the film’s empathy for queer Christians stops there.
From Cannes: Sophie Marceau Gives a Revelatory Portrait of Resilience in ‘Tout S'est Bien Passe’ (‘Everything Went Fine’)
In a conclusion that could not be more satisfying, Ozon reminds audiences that salvation can come in the strength to let go.
From Cannes: ‘Lingui’ (‘Sacred Bonds’) is a Somber Story of Abortion Access in Chad
As a compelling portrait of the consequences of outlawing abortion, and a touching mother-daughter story, “Lingui” is well-executed with an important message — especially for those who don’t already agree with the film’s pro-choice premise.
From Cannes: ‘Ha’Berech’ (‘Ahed’s Knee’) Illuminates an Oppressive Israeli State with Perfect, Ruthless Precision
Lapid shot the film in 18 days, on a small budget, with a script written in just two weeks. It’s all the more shocking then, that “Ha’Berech” achieves the heights of technical perfection it does — and all the more important that its message about the extent of the Israeli government’s artistic censorship be heard.
The Worst Person in the World Still
Julie (Renate Reinsve) and Eivind (Herbert Nordrum) in "The Worst Person in the World"
From Cannes: ‘The Velvet Underground’ is a Hypnotic Love Letter
Jonathan Richman, a superfan and the founder of rock band The Modern Lovers, said of the audience, “The Velvet Underground had hypnotized them one more time.” Haynes’ documentary, too — with its cacophonous soundtrack carved out of The Velvet Underground’s music, paired with vibrant, abstract imagery and avante-garde sensibilities — is hypnotizing.
From Cannes: ‘Where is Anne Frank’ is an Timely Reimagining of a Timeless Story
At its core, the film is a compelling, if vastly oversimplified, reimagining of a timeless legacy in an undeniably timely context.
Still from “The Hill Where Lionesses Roar”
Era Balaj, Urate Shabani, and Flaka Latifi in “The Hill Where Lionesses Roar.”
From Cannes: ‘The Hill Where the Lionesses Roar’ is a Breathless Cry for Freedom
Judging from “The Hill Where Lionesses Roar,” it’s clear that Bajrami’s career as an unapologetic artist will only grow from here.