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The Harvard Crimson Presents
Cannes Film Festival 2021
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The Harvard Crimson sends two writers — Joy C. Ashford ‘22-23 and Sofia Andrade ‘23-24 — to France to cover the 74th annual Cannes Film Festival.
From Cannes: ‘Nitram’ is a Compelling, if Unsure, Look at the Makings of a National Tragedy
From Cannes: Portrait of an Artist: Christina Rose
From Cannes: Surprise Chow Premiere is Truly a ‘Revolution of Our Times’
From Cannes: ‘Women Do Cry’ is a Part Moving, Part Tone-Deaf Portrayal of Womanhood in Bulgaria
From Cannes: ‘A Feleségem Története’ (‘The Story of My Wife’) is All Shimmer and No Substance
From Cannes: Oliver Stone Argues JFK’s Murder is Still Unsolved in ‘JFK Revisited’
From Cannes: ‘Red Rocket’’s Portrayal of an Aging Porn Star is Rich, Intricate, and Socially Irresponsible
From Cannes: ‘Les Intranquilles’ is a Moving, Bleak Portrayal of Bipolar Disorder
From Cannes: Portrait of an Artist: Eva Lanska
From Cannes: ‘Ghahreman’ (‘The Hero’) is a Heavy-Handed Maze of Impossible Choices
From Cannes: ‘Titane’’s Horror Will Dazzle and Liberate You
From Cannes: Problematic, Racialized Stereotypes Run Free in ‘Stillwater’
From Cannes: ‘Drive My Car’ Uncovers the Secrets of the Guilt-Ridden Soul
From Cannes: ‘Une Histoire d’Amour et de Désir’ Excels at Being Just That
From Cannes: ‘Les Olympiades’ is a Compelling Look at Intimacy, Desire
From Cannes: ‘Mothering Sunday’ is a Sensual Exploration of Love and Grieving
From Cannes: ‘The French Dispatch’ is a Breathtaking Objet d’Art
Cannes Par Jour: Days 6 & 7
Cannes Par Jour: Days 4 & 5
From Cannes: Intimacy and Small Spaces in ‘Hytti Nro. 6’
From Cannes: 'La Fracture' (The Divide) is a Jumbled Mess of Attempted Social Commentary
From Cannes: ‘Flag Day’’s Artful, Empty Vignettes of Childhood Trauma
From Cannes: Deep Dives into Control and Restlessness in ‘Murina’
From Cannes: ‘Benedetta’ is a No-Holds-Barred Sexual Fantasy
From Cannes: Sophie Marceau Gives a Revelatory Portrait of Resilience in ‘Tout S'est Bien Passe’ (‘Everything Went Fine’)
From Cannes: ‘Ha’Berech’ (‘Ahed’s Knee’) Illuminates an Oppressive Israeli State with Perfect, Ruthless Precision
From Cannes: ‘Verdens Verste Menneske’ (‘The Worst Person in the World’) is as Meandering as its Protagonist
From Cannes: ‘The Hill Where the Lionesses Roar’ is a Breathless Cry for Freedom
From Cannes: ‘Lingui’ (‘Sacred Bonds’) is a Somber Story of Abortion Access in Chad
From Cannes: ‘Where is Anne Frank’ is an Timely Reimagining of a Timeless Story
From Cannes: ‘Val’ Captures a Life with Stunning Intimacy
Cannes Par Jour: Days 2 & 3
From Cannes: ‘The Velvet Underground’ is a Hypnotic Love Letter
From Cannes: ‘The Gravedigger’s Wife’ is a Warm and Tender Directorial Debut
From Cannes: ‘Annette’ is a Dazzling Rollercoaster-ride of Male Ego
Cannes Par Jour: Day 1