“Nitram” is undoubtedly a strong technical film, especially with Jones's lead performance. However, its convoluted relationship with mental health, and its self-confused goals of sharing the Port Arthur Massacre story still leaves it with plenty of room to grow.
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.
Not only does Chow work to distill a complicated problem into a moving documentary, but he also does critical work to show the protesters as genuine people, rather than radical talking heads.
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.
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.
“JFK Revisited” is a part-gripping, part-didactic watch that makes a strong case that the murder of President Kennedy is still very much unsolved.
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.
“Les Intranquilles” is a film that aims to walk that difficult line as it tackles one of the most deadly and complicated mental illnesses: bipolar disorder.
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.
Farhadi's latest Cannes entry, “The Hero,” is his most elaborate and least realistic maze of impossible choices to date.
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.
Despite its attempts at engaging with complex concepts of racism in Europe and America, classism, family, and acceptance, the film essentially leaves its characters where they started.
“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.”
Shot in a romantic, sultry black-and-white, the veteran director’s latest film is charming, moody, and refreshingly unassuming as it delves into the realities of intimacy in the modern world.
In its many triumphs, “Mothering Sunday” proves a strong next step for Husson as she continues to develop her career as a filmmaker.
As one might expect from Anderson, his much-anticipated film (which premiered in-competition at the 2021 Cannes Film Festival), is a hilarious, endearing, and absolutely breathtaking work of art.
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.
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.
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.
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.
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.