From Cannes: Portrait of an Artist: Christina Rose

The Harvard Crimson sat down with Rose while she was at the 2021 Cannes Film Festival to chat about identity, inspiration, hope, and what’s next for her career. This conversation has been edited and condensed for clarity.

From Cannes: ‘Women Do Cry’ is a Part Moving, Part Tone-Deaf Portrayal of Womanhood in Bulgaria

Though “Women Do Cry” has its strengths — genuine, intimate moments between female family members, moments of excellent acting from Bakalova and Stoyanova in particular — it shows a blatant disrespect for the LGBT community at every turn.

From Cannes: ‘A Feleségem Története’ (‘The Story of My Wife’) is All Shimmer and No Substance

In nearly three hours, “The Story of My Wife” gives the audience only one developed character (who’s not particularly compelling), a strange relationship that hardly seems worth saving, and a confused and undercut message on trust and control.

From Cannes: Portrait of an Artist: Eva Lanska

The Harvard Crimson sat down with Lanska at the 2021 Cannes Film Festival to discuss her path to directing, advice for young filmmakers, and what it takes to succeed as a woman in a notoriously difficult industry.

From Cannes: ‘Red Rocket’’s Portrayal of an Aging Porn Star is Rich, Intricate, and Socially Irresponsible

Baker fully immerses viewers into his subjects’ everyday lives to the point that you feel like you’re a part of them, and he brings that same level of research and immersion to “Red Rocket” — the story of a broke, aging porn star who returns to his small Texas town.

From Cannes: ‘Titane’’s Horror Will Dazzle and Liberate You

With “Titane,” Ducournau doesn’t just venture deeper into the disturbing and grotesque than most directors would dare. Rather, she breaks every possible rule about how to exist in a female body — and creates a glamorous, gory exploration of gender and gender fluidity that is unlike anything you’ve ever seen.

From Cannes: ‘Drive My Car’ Uncovers the Secrets of the Guilt-Ridden Soul

In “Drive My Car,” Hamaguchi guides viewers into the depths of grief and guilt with the careful understanding of someone who has been down those same roads — and, perhaps, has truly found a way out.

From Cannes: ‘Une Histoire d’Amour et de Désir’ Excels at Being Just That

“Une Histoire” not only excels at what it sets out to do, but also leaves its audience rapt and aching for more. As Bouzid said of her hopes for the film at the beginning of the premiere, “I hope you’ll want to love, and to wish to do something else than love. To touch, too.”

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: ‘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: ‘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.

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