Cannes Film Festival 2021

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

By Sofia Andrade  • 

From Cannes: Portrait of an Artist: Christina Rose

By Sofia Andrade  • 

From Cannes: Surprise Chow Premiere is Truly a ‘Revolution of Our Times’

By Sofia Andrade  • 

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

By Joy C. Ashford  • 

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

By Joy C. Ashford  • 

From Cannes: Oliver Stone Argues JFK’s Murder is Still Unsolved in ‘JFK Revisited’

By Joy C. Ashford  • 

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

By Joy C. Ashford  • 

From Cannes: ‘Les Intranquilles’ is a Moving, Bleak Portrayal of Bipolar Disorder

By Joy C. Ashford  • 

From Cannes: Portrait of an Artist: Eva Lanska

By Joy C. Ashford  • 

From Cannes: ‘Ghahreman’ (‘The Hero’) is a Heavy-Handed Maze of Impossible Choices

By Joy C. Ashford  • 

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

By Joy C. Ashford  • 

From Cannes: Problematic, Racialized Stereotypes Run Free in ‘Stillwater’

By Sofia Andrade  • 

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

By Joy C. Ashford  • 

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

By Sofia Andrade  • 

From Cannes: ‘Les Olympiades’ is a Compelling Look at Intimacy, Desire

By Sofia Andrade  • 

From Cannes: ‘Mothering Sunday’ is a Sensual Exploration of Love and Grieving

By Sofia Andrade  • 

From Cannes: ‘The French Dispatch’ is a Breathtaking Objet d’Art

By Sofia Andrade  • 

Cannes Par Jour: Days 6 & 7

By Sofia Andrade  • 

Cannes Par Jour: Days 4 & 5

By Joy C. Ashford  • 

From Cannes: Intimacy and Small Spaces in ‘Hytti Nro. 6’

By Sofia Andrade  • 

From Cannes: 'La Fracture' (The Divide) is a Jumbled Mess of Attempted Social Commentary

By Joy C. Ashford  • 

From Cannes: ‘Flag Day’’s Artful, Empty Vignettes of Childhood Trauma

By Joy C. Ashford  • 

From Cannes: Deep Dives into Control and Restlessness in ‘Murina’

By Sofia Andrade  • 

From Cannes: ‘Benedetta’ is a No-Holds-Barred Sexual Fantasy

By Joy C. Ashford  • 

From Cannes: Sophie Marceau Gives a Revelatory Portrait of Resilience in ‘Tout S'est Bien Passe’ (‘Everything Went Fine’)

By Joy C. Ashford  • 

From Cannes: ‘Ha’Berech’ (‘Ahed’s Knee’) Illuminates an Oppressive Israeli State with Perfect, Ruthless Precision

By Joy C. Ashford  • 

From Cannes: ‘Verdens Verste Menneske’ (‘The Worst Person in the World’) is as Meandering as its Protagonist

By Joy C. Ashford  • 

From Cannes: ‘The Hill Where the Lionesses Roar’ is a Breathless Cry for Freedom

By Sofia Andrade  • 

From Cannes: ‘Lingui’ (‘Sacred Bonds’) is a Somber Story of Abortion Access in Chad

By Joy C. Ashford  • 

From Cannes: ‘Where is Anne Frank’ is an Timely Reimagining of a Timeless Story

By Sofia Andrade  • 

From Cannes: ‘Val’ Captures a Life with Stunning Intimacy

By Sofia Andrade  • 

Cannes Par Jour: Days 2 & 3

By Sofia Andrade  • 

From Cannes: ‘The Velvet Underground’ is a Hypnotic Love Letter

By Sofia Andrade  • 

From Cannes: ‘The Gravedigger’s Wife’ is a Warm and Tender Directorial Debut

By Joy C. Ashford  • 

From Cannes: ‘Annette’ is a Dazzling Rollercoaster-ride of Male Ego

By Sofia Andrade and Joy C. Ashford  • 

Cannes Par Jour: Day 1

By Joy C. Ashford  •