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Crimson staff writer

Kaylee S. Kim

Crimson staff writer Kaylee S. Kim can be reached at kaylee.kim@thecrimson.com.

Latest Content

"Matthias et Maxime" Still
Film

From Cannes: ‘Matthias et Maxime’ an Unconvincing Romance

Their romance, which is intended to drive the story, inevitably feels like the subplot of two friends who must soon bid farewell.

Outside the Artists' Entrance at the Palais de Festivals in Cannes.
Film

Cannes Special Edition: Journalists Archetypes

The Cannes Film Festival attracts a number of eccentric types of journalists. Here, Crimson Cannes correspondents break them down.

"Once Upon a Time...in Hollywood" Still
Film

From Cannes: ‘Once Upon a Time...in Hollywood’ is Nostalgic Fun — If You Can Overlook Everything Else

25 years after he won the Palme d’Or for “Pulp Fiction,” Quentin Tarantino is back at Cannes with his most recent film, “Once Upon a Time...in Hollywood.”

"Nina Wu" Still
Film

From Cannes: “Nina Wu”: An Unfocused Vignette of #MeToo

Director Midi Z attempts to engage with the #MeToo movement, but relies on the sheer shock value of the abuse of power that ensues to ground the thriller.

“Gisaengchung” (“Parasite”)
Film

From Cannes: ‘Gisaengchung’ (‘Parasite’) Feeds on Class Rage and Humor

For Bong, it’s not just the rich against the poor — it’s much more complicated, which he reveals as his film diverges from a heartfelt comedy into a gripping thriller full of vengeful violence.

Cannes Day 6
Film

Cannes Par Jour: Day 6

The people love Tarantino, but Tarantino, why don’t you love us back?

"Portrait of a Lady on Fire" Still
Film

From Cannes: Céline Sciamma Paints a Captivating Romance in ‘Portrait de la jeune fille en feu’ (‘Portrait of a Lady on Fire’)

Sciamma treads the fine line between subversion and historical accuracy marvelously and with a keen eye for detail, and has produced her best work yet that will surely be among this year’s prize winners.

"Lux Æterna" Still
Film

From Cannes: Gaspar Noé is Characteristically (and Pretentiously) Self-Referential in ‘Lux Æterna’

Gaspar Noé’s message is far more explicit than usual, which thankfully takes away the typically harrowing experience of trying to make sense of his creations.

"The Lighthouse" Still
Film

From Cannes: A Horrifying, Nautical Myth Comes to Life in ‘The Lighthouse’

Willem Dafoe and Robert Pattinson come together as a bitingly funny and erratic spectacle, drunkenly singing and dancing just minutes before damning each other to death because of a sly remark.

"Little Joe" Still
Film

From Cannes: ‘Little Joe’ Thrives on Subtlety

“Little Joe” doesn’t have a climax, nor does it spiral into action — instead, it beautifully sustains its psychological horror and unfolds at the same, unassuming pace at which Little Joe takes over the laboratory.

Cannes Day 3
Arts

Cannes Day 3

The infamous sandwich kiosk during rush hour.

"Les Misérables" Still
Film

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.

"Hatsukoi" ("First Love") Still
Arts

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.

"Bacurau" Still
Film

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.

Cannes Day 3
Film

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.

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