Arts
‘The Bells’ Rings in More Death for the Final Season of ‘Game of Thrones’
Although “The Long Night” was anticipated to be the most epic episode, the battle at King’s Landing in the most recent episode far surpassed it.
"Sorry We Missed You" Still
From left to right, Debbie Underwood, Katie Proctor, Rhys Stone, and Kris Hitchen star in "Sorry We Missed You."
From Cannes: ‘Sorry We Missed You’ A Glaring Wake-Up Call
Loach’s critical take on the new and growing industry begs a serious evaluation of how its rapid rise in scale has unforeseen detrimental effects on society.
From Cannes: ‘Les Misérables’ Brings Kinetic Nuance to Parisian Tensions
While the film could be mistakenly simplified as just another critique of police brutality, Ly constructs a vastly more complex landscape that brings nuance to deeply rooted racial and social tensions.
From Cannes: ‘Hatsukoi’ (‘First Love’) Pokes Fun at the Action Thriller Genre
Just when the humor-filled fighting begins to feel cheesy, the film erupts into colorful cartoon animation, complete with speech bubbles, as three survivors escape from battle in a car.
"Hatsukoi" ("First Love") Still
Maimi Yajima and Masataka Kubota star in "Hatsukoi" ("First Love").
From Cannes: ‘Bacurau’ is a Gloriously Unworldly Warning Against Modernization
The town of Bacurau that Filho and Dornelles construct isn’t so much a utopia as it is a proposed philosophy, one that challenges the endless developments of modernization and knows how much moderate change it really needs.
From Cannes: ‘La Femme de mon frère’ (‘A Brother’s Love’) Radiates Potential but Falls Flat
The film’s answer to its driving question is egregiously inconsistent with its original ambitions, which nearly outweighs the otherwise careful construction of the story.
From Cannes: ‘The Dead Don’t Die’ Is a Campy Misfire
It’s obvious that “The Dead Don’t Die” is intentionally campy, though it’s often hard to tell whether Jarmusch is playing on tropes or inadvertently perpetuating them.
From Cannes: ‘Bull’ Dresses a Well-Known Story With Grace
Though some may be wary of the well-tread human-animal storyline, graceful execution, as Silverstein provides, can still result in an alluring film.
From Cannes: ‘Dylda’ (‘Beanpole’) Gives a Raw And Gripping Post-War Portrayal
Director Kantemir Balagov conveys a beautifully painful story of two women and how disjointed their lives become after the various traumas of World War II. He doesn’t simplify their struggles — instead, his dramatic portrayal of the everyday lives of his characters reflects the physical and mental wounds they have suffered from the war.
Cannes Par Jour: Day 3
While the French elite join Miles Teller and Cate Blanchett for cocktails, I’m sitting in the Wi-Fi cafe typing a review with one hand and feeding myself a lukewarm kiosk focaccia with the other.
"Dylda" ("Beanpole") Still
Viktoria Miroshnichenko stars as Iya, the titular role, in "Dylda" ("Beanpole").
"La Femme de mon frère" ("A Brother's Love") Still
Anne-Élisabeth Bossé and Patrick Hivon star in "La Femme de mon frère" ("A Brother's Love").
Cannes Par Jour: Day 0
With two incomplete final papers and a shared total of seven hours of sleep from the night before, we embarked on our first journey to Cannes.
Cannes Par Jour: Day 1
Knowing that we’d be exhausted from the journey over and the activities of the previous day, Kaylee and I set our first screening for 11 a.m. We started the morning with Jim Jarmusch’s “The Dead Don’t Die,” which, despite its comedic elements, was still pretty gruesome.
Cannes 2019 Poster
This year's Cannes poster features the late Agnes Varda shooting her first film, La Pointe Courte, in the summer of 1954.
Kate Brehm headshot
Kate Brehm is a self-described “movement director” and professional puppeteer.
Cannes Film Festival 2019
The Harvard Crimson sends two writers — Kaylee S. Kim '20 and Lucy Wang '20 — to France to cover the 72nd annual Cannes Film Festival.
Portrait of an Artist: Puppeteer Kate Brehm Teaches the Illusion of Invisibility
"The role of the puppeteer is exciting because there's always a duality going on," Brehm said.