Their romance, which is intended to drive the story, inevitably feels like the subplot of two friends who must soon bid farewell.
The Cannes Film Festival attracts a number of eccentric types of journalists. Here, Crimson Cannes correspondents break them down.
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.”
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.
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.
The people love Tarantino, but Tarantino, why don’t you love us back?
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.
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.
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” 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.
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.
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.
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.