2023 Cannes Film Festival

stephen
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2023 Cannes Film Festival May 20, 2023 22:53:34 GMT Mattsby and pashalis7 like this

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Post by stephen on May 20, 2023 22:53:34 GMT

May December:

Deadline raves it as brilliantly acted by Portman and Moore.

Variety calls it "layered," draws comparisons to "Persona."

IndieWire calls it "deliciously campy" and "masterful."

ScreenDaily calls it "a delicate" melodrama.

Richard Lawson: MAY DECEMBER? Yes you may! Incredible performances from Natalie Portman and Julianne Moore. And! And Charles Melton, a Riverdale star taking things to a new level. Good movie.

Jessica Kiang: MAY DECEMBER is exactly what you want a Todd Haynes movie starring Julianne Moore and Natalie Portman to be. Not much more than that, but not a whit less. MVPs: Charles Melton’s final expression, Moore doubting there are enough hot dogs and that musical PLING.

Kyle Buchanan: Todd Haynes is back!! Juicy, funny, campy and immediately the most quotable movie of Cannes. Portman rules. Also… Academy Award nominee Charles Melton? (After Austin Butler last year, the CW-to-Cannes pipeline is very real)

David Ehrlich: MAY DECEMBER: honestly the best movie that premiered at Cannes 2023 today might just be Todd Haynes’ tabloid melodrama about Natalie Portman studying to become Julianne Moore. a heartbreakingly sincere piece of high camp. and so funny.

Xan Brooks: fraught drama starring Natalie Portman and Julianne Moore promises more than it delivers.

David Rooney: Natalie Portman and frequent Todd Haynes muse Julianne Moore are doing spectacular work in the director’s MAY DECEMBER even if its emotional heat could be turned up a notch.

Tomris Laffly: Hey hey fellow lovers of KATE PLAYS CHRISTINE, got good news for you. In Todd Haynes’ latest, Natalie Portman plays Julianne Moore and the result is a terrific (and unexpectedly funny) psychodrama about identity and performance.

Robert Daniels: Todd Haynes’ MAY DECEMBER is a meal. The more I think about it, the more I love its daring, its trickiness, it’s dark, uncomfortable humor, and its narrative complexity. Each actor is in a wildly different movie than the other, but it works

Guy Lodge: MAY DECEMBER shows again that Natalie Portman is best when pushed to be openly artificial, and Julianne Moore is best when allowed to be a complete fucking maniac under a tense smile, ideally by Todd Haynes. Both ripe and austere, and extremely funny; like SAFE as a daytime soap.

Esther Zuckerman: MAY DECEMBER: Yes, it’s crazy how good Charles Melton of Riverdale fame is, but this reminded me how much I’ve missed Natalie Portman taking something juicy and just running with it. She has an all time monologue.

Matt Neglia: Natalie Portman & Julianne Moore are sensational in Todd Haynes’ hilarious melodrama MAY DECEMBER. Charles Melton manages to stand out with a delicate role. The score goes immensely hard in its theatricality. Loved it. Not what I was expecting but consistently surprising & campy.

Last Edit: May 21, 2023 15:37:59 GMT by stephen

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Billy_Costigan Badass Posts: 1,439 Likes: 1,197	2023 Cannes Film Festival May 20, 2023 23:03:40 GMT via mobile Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by Billy_Costigan on May 20, 2023 23:03:40 GMT Sounds like there might be 3 Best Picture nominees coming of of Cannes

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2023 Cannes Film Festival May 21, 2023 15:34:50 GMT

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Post by stephen on May 21, 2023 15:34:50 GMT

Pictures of Ghosts:

The Film Stage gives it B+, calls it "a memento mori of cinema."

Little White Lies calls it "an extremely charming personal survey of the grand picture palaces of Recife."

ScreenDaily calls it "heartfelt," but "at times becomes a little too much of a ramble."

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2023 Cannes Film Festival May 21, 2023 15:37:11 GMT

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Post by stephen on May 21, 2023 15:37:11 GMT

The Breaking Ice:

IndieWire calls it "sweet and spectacularly beautiful."

The Hollywood Reporter calls it "poignant" and "intimate."

The Guardian gives it 3/5, calls it "arresting" and "existential."

ScreenDaily says Anthony Chen is "trying new things here," including other directors' influences.

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stephen Legend The jerk store called, and they're running out of YOU. Posts: 23,186 Likes: 23,752	2023 Cannes Film Festival May 21, 2023 16:37:00 GMT speeders likes this Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by stephen on May 21, 2023 16:37:00 GMT Sounds like Sandra Huller may have clenched a Best Actress trophy if early word on Anatomy of a Fall is to be believed...
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2023 Cannes Film Festival May 21, 2023 18:17:26 GMT DanQuixote, Mattsby, and 1 more like this

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Post by stephen on May 21, 2023 18:17:26 GMT

Anatomy of a Fall:

Elena Lazic: To say I loved Justine Triet’s ANATOMY OF A FALL would be an understatement. I am fully obsessed with it.

David Ehrlich: still working through my thoughts on the major Anatomy of a Fall (and probably will be for a long while), but Sandra Hüller gives a Tàr-worthy, all-time performance as a novelist who may or may not have murdered her frustrated wannabe novelist husband. incredible.

Jon Frosch: ANATOMY OF A FALL is a riveting legal procedural/character study/portrait of a marriage. Sandra Hüller GREAT, on level of peak Blanchett or Huppert, & big step up for director Justine Triet. Women filmmakers dominating French cinema.

Ali Benzekri: A terrific procedural drama is Ali Benz bait. Triet and Huller: a match made in heaven. In awe of Triet’s justesse. Surfire prize contender.

Charles Bramesco: the second French-language courtroom drama I’ve loved at this festival, and the first in which a harried Sandra Hüller gets really mad at her husband for obsessing over his job. Magnifique!

Tim Grierson: I wish there was a bigger idea animating Justine Triet’s absorbing courtroom drama/marriage study. Still, pretty gripping stuff. Now I just need to know how Triet landed on Bacao Rhythm & Steel Band’s cover of “P.I.M.P.,” which she uses brilliantly.

Manuela Lazic: This film is seriously incredible, so precise and seemingly simple yet surprising, with Arlaud at his least-mannered, best self, and Sandra Hüller a compelling mystery. Guilt comes in degrees.

Peter Howell: Should be “autopsy” instead of “anatomy.” Justine Triet adopts forensic approach to a man’s deadly fall from his ski chalet and whether his wife (Sandra Hüller, terrific) pushed him. Mystery deepens in homestretch; even the pet pooch needs an alibi.

Peter Bradshaw: There’s a bracing and chilly high-mindedness about Justine Triet’s psychothriller. Sandra Hüller’s calm directness as an actor is what gives the film its texture, substance and emotional force. She anchors it in a kind of accessible reality.

Damon Wise: at its heart is Hüller’s performance, a haunting and emotional tour de force that stays long in the mind and puts her right up there in the top tier of European talent.

Victor Russo: Triet de-spectacularizes the case in order to present the facts of a case impossible to reach a verdict (only she herself could do it). Luckily, such an approach, supported by great (and lots of) dialogue and Sandra Huller, never loses the viewer.

Last Edit: May 21, 2023 18:17:37 GMT by stephen

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DanQuixote Badass Posts: 2,066 Likes: 1,094	2023 Cannes Film Festival May 21, 2023 18:52:27 GMT via mobile avnermoriarti and stephen like this Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by DanQuixote on May 21, 2023 18:52:27 GMT Everyone should watch Triet’s underappreciated Sibyl. Efira and Hüller are both amazing in it.
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2023 Cannes Film Festival May 21, 2023 19:04:03 GMT

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Post by stephen on May 21, 2023 19:04:03 GMT

Firebrand:

David Ehrlich: Alicia Vikander is steely enough as the only wife who survived Henry VIII (a delectably oozing and repellant Jude Law), but Karim Aïnouz’s bland period drama isn’t up to Parr with the best of the Cannes 2023 competition.

Tim Grierson: King Henry VIII’s final wife steps into the spotlight for Firebrand, a slow burn drama that fails to generate much heat

Peter Bradshaw: Jude Law outrageously steals every scene as a horrendously unwell and cross Henry VIII in this Tudor court intrigue drama that also serves as an amusing noir counterfactual. It’s a watchable piece of faux history, but the movie does not know what to do with its own heroine.

Serena Seghedoni: Unintentionally funny more often than not. Despite a strong start, FIREBRAND is a misfire.

Gregory Ellwood: Alicia Vikander and Jude Law are fantastic in Firebrand which might or ought not reimagine the fates of Katherine Parr and Henry the 8th. Awards? …maybe? BAFTA player most likely…

FilmLand Empire: Alicia Vikander is fantastic, there are flashes of quality but this ordinary, shouty period drama belongs to BBC One on a Sunday night, not here. A blustering Jude Law is entertaining for about five minutes then tiresome.

Iana Murray: could’ve watched a history channel documentary on catherine of aragon and got as much out of it as i did from this

David Rooney: Firebrand provides a great leading role for an actress to bite into, which Alicia Vikander does with gusto, but also with the restraint and watchful self-possession of a woman well aware that it hasn’t always ended well for her predecessors in Henry’s bed. It’s her best work since Ex Machina. Jude Law is frighteningly mercurial. Jovial one minute and dangerous the next, his Henry is a man whose body is failing him, quite literally festering with poison.

Chloé Valmary: My first tears of this Cannes 2023 will have been for Firebrand by Karim Aïnouz. Alicia Vikander is stratospheric in the role of the courageous Catherine Parr facing the ogre Henry VIII camped by a terrifying Jude Law.

Therese Lacson: I don’t ever think that historical fiction needs to adhere word-for-word to the history books, but Firebrand’s attempt to girlbossify Catherine Parr and it’s egregious departure from just the basic facts is frustrating. The film is pretty but the Tudor nerd in me was…unhappy.

Martyn Conterio: Firebrand is fine in that Sunday afternoon in front of the telly kind of way. Jude Law playing Henry VIII in the key of Oliver Reed at his most boorish and mean is amusing. S’alright…

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stephen
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2023 Cannes Film Festival May 22, 2023 19:33:57 GMT

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Post by stephen on May 22, 2023 19:33:57 GMT

Fallen Leaves:

Pete Hammond: Fallen Leaves is a flat out gem. If there is any justice Fallen Leaves will bring the filmmaker the kind of recognition he deserves. It is a true gem.

David Cuevas: Fallen Leaves, the latest from Finnish auteur Aki Kaurismäki is a delightfully deadpan addition to his working class trilogy. Unlike the other films in his saga of proletariat protagonists, this new film is far more simple; a slow but warm romance with a great sense of dry wit.

FilmLand Empire: a bittersweet rom-com, delightful, moving and quintessential Kaurismäki: the stunning compositions, the laconic characters, the bittersweet humour, the humanity… It’s elicited the biggest reactions of any screenings so far, I adored it!

Ankit Jhunjhunwala: A romance of inordinate modesty & humility. Don’t be fooled by it’s deadpan humor & impassive sobreity. Beneath the surface is enormous depth of feeling. Your heart might be a little bit larger afterwards. Best in Comp.

Manuela Lazic: trust Kaurismäki to make a beautiful film about life sucking but love being real and the only way to make it through. Spotted at least 2 references to his own CRIME & PUNISHMENT, including the great version of Schubert’s Serenade. What more do you want?

Elena Lazic: Floored by Aki Kaurismäki’s FALLEN LEAVES, the most beautiful film I’ve seen here so far.

Stephen Miller: I gather from his reception here that he is extraordinarily beloved by the festival crowd. I get what he’s doing here, I really do: this Yorgos-y, drain-emotion-and-let-absurdity-reign thing. It’s funny! I chuckled multiple times. But what does he do with it once that world is set? To me it was underwhelming, perfectly serviceable, but a wisp of a movie. This feels like the sort of thing a Cannes crowd will rave about as hilarious only to have the hype kill it. We’ll see!

Simon Santiago: Fallen Leaves is another jewel for the Kaurismaki canon. A minimalist love story between two lonely losers among karaoke, many old songs (and an outstanding modern one), vodka, bars, cinema, melancholy and tender humor. Nothing too new but who needs novelty really? Beautiful

Ema Sasic: FALLEN LEAVES is just the most delightful and silly “rom-com” you’ll find at Cannes. So much dry humor that I adore and incredible line deliveries that got the whole theater laughing. Alma Pöysti and Jussi Vatanen totally nail the tone and sell every minute of this film

Peter Howell: She’s sad but hopeful, he’s depressed and drunk — what’s not to love? Astringent auteur Aki Kaurismäki conjures a touching lonely hearts tale in this fourth chapter of his working-class “trilogy.” An unexpected crowd-pleaser from a minimalist master.

Peter Bradshaw: Fallen Leaves is another of Kaurismäki’s beguiling and delightful cinephile comedies, featuring foot-tapping rock’n’roll. Fallen Leaves is a film with a big heart, and absurd and cartoony as it may be, it fills you with a feelgood glow.

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stephen
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2023 Cannes Film Festival May 22, 2023 19:34:25 GMT

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Post by stephen on May 22, 2023 19:34:25 GMT

The Sweet East:

Matt Neglia: THE SWEET EAST is an outrageously creative & spellbinding odyssey. Boldly announces Sean Price Williams as an exciting new director. Not all of its idiosyncrasies work but a Neo-Nazi Simon Rex, Ayo Edebiri as an exuberant director & a game Talia Ryder give it an infectious spirit

Peter Howell: A star is bored. Screwball antics by Talia Ryder go down a treat in Sean Price Williams’ feature debut, despite high violence. Ryder’s Gen-Z Lillian is so fed up she’s willing to confront neo-Nazis and religious freaks for kicks. A real discovery at Cannes 2023

Leonardo Goi: I have a first Cannes 2023 coup de foudre, and it’s Sean Price Williams’s THE SWEET EAST, an endlessly playful, endlessly quotable 21st century Americana that cobbles together Simon Rex, neo-nazis, and a cameo by Nick Pinkerton I know will rank among the fest’s finest moments.

The Oscar Expert: Sean Price Williams comes in SWINGING with his directorial debut The Sweet East, a bizarre, mesmerizing cross-country odyssey across various extreme ideological identities in the USA. Beautifully shot. It can be kinda clunky for sure but I was pretty thrilled by it!

Rafa Sales Ross: What a time at the movies with Sean Price Williams’ THE SWEET EAST, a riotous Alice in Wondermerica that marries Pinkerton’s piercingly sharp script with Williams’ textured, immersive eye for imagery to create a film that finds the timely in timelessness. Great stuff.

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stephen
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2023 Cannes Film Festival May 22, 2023 19:34:50 GMT

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Post by stephen on May 22, 2023 19:34:50 GMT

The Animal Kingdom:

Tim Grierson: A monster movie with soul that makes room for nearly endless metaphorical possibilities. Maybe it meanders, but the film manages to be emotional, thrilling and unnerving. Plus, some of the best makeup and effects work in a non-blockbuster in forever.

Serena Seghedoni: LE RÈGNE ANIMAL profoundly disturbed me at first only to turn me into a sobbing mess at the end. The most unique and thoroughly absorbing Cannes 2023 film so far, and the performances and technical achievements are incredible too.

FilmLand Empire: a character-driven genre film/family drama about an epidemic of human mutations. It lacks focus at times but it’s impressive and affecting, with a striking imagery and body horror. There are even some slight echoes of GINGER SNAPS and NIGHTBREED

Gregory Ellwood: Despite a fantastic performance from Paul Kircher, The Animal Kingdom (or Le Regne Animal) feels too much like a conventional streaming movie to really take its subject matter seriously.

Matt Neglia: THE ANIMAL KINGDOM is a wholly unique vision from Thomas Cailley. A captivating sci-fi drama where humans mutate into animals. A convincing blend of makeup & visual effects are on display but it’s the moving father-son story at the film’s center that makes it a roaring success.

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2023 Cannes Film Festival May 22, 2023 19:44:49 GMT

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Post by stephen on May 22, 2023 19:44:49 GMT

Club Zero:

Owen Gleiberman: Club Zero won’t be for everyone, but Hausner, channeling some combination of Hitchcock and Cronenberg and “Village of the Damned” and the Todd Haynes of “Superstar: The Karen Carpenter Story,” has now made an even more gripping and provocative mind-fuck.

David Ehrlich: Jessica Hausner delivers another clumsily skeptical film about the social institutions into which people entrust their faith. It’s always been hard not to admire Hausner’s audacity, but this time around the boldness of her storytelling finally spills into trollish provocation.

Yasmine Kandil: CLUB ZERO is one of the worst films I’ve seen in my entire life I wish I was joking

Wendy Ide: Club Zero looks terrific but is a thinly-written picture that operates on a largely superficial level

Serena Seghedoni: CLUB ZERO was really not for me. I can see what it was trying to do, but I just really didn’t like the one-dimensional characters, directing style, and general lack of direction. Also, worst sound design of the festival for me.

Caspar Salmon: Big fan of the way Jessica Hausner makes it incredibly hard for you to enjoy her films! CLUB ZERO is infuriating, ridiculous, mannered, terribly acted – and yet, if you stick with it you get the rewards. This is a kind of alienated, non-violent, airless body horror.

Clayton Davis: Welp, I thought it was kinda weird, I hadn’t seen any vomit in a Cannes movie… enter Club Zero, a type of movie you would see at Sundance that snuck its way into France. Writer-director Jessica Hausner’s eccentric flick is going to be quite the headscratcher, but I dug it?

Matt Neglia: CLUB ZERO has such a promising setup as Mia Wasikowska’s unnerving but all smiling nutritional teacher manipulates her students to question scientific fact & stop eating. Thought-provoking but it doesn’t fully satisfy by the end, leaving the audience starving for more.

Charles Bramesco: this is going to be another LITTLE JOE situation, which most people will mean in a bad way, but I mean in a good way.

Donald Clarke: Jessica Hausner’s CLUB ZERO take chances as it uses eating disorder as a basis for discussing (I guess) the perils of institutional manipulation. If I were clearer what the hell she was saying that risk might seem more worth the taking. Looks great. But… what now?

Xan Brooks: Jessica Hausner’s Club Zero lands like a little drop of poison in Cannes competition. Chill, satisfying parable of 21stC magical thinking with Mia Wasikowska perfectly cast as the tale’s fanatical pied piper. Liked this a lot

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2023 Cannes Film Festival May 22, 2023 19:55:22 GMT

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Post by Martin Stett on May 22, 2023 19:55:22 GMT

May 22, 2023 19:33:57 GMT stephen said:

Fallen Leaves:

Stephen Miller: I gather from his reception here that he is extraordinarily beloved by the festival crowd. I get what he’s doing here, I really do: this Yorgos-y, drain-emotion-and-let-absurdity-reign thing. It’s funny! I chuckled multiple times. But what does he do with it once that world is set? To me it was underwhelming, perfectly serviceable, but a wisp of a movie. This feels like the sort of thing a Cannes crowd will rave about as hilarious only to have the hype kill it. We’ll see!

This is exactly how I feel about every other Kaurismaki movie

And so, let the curtain rise on tonight's dream

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2023 Cannes Film Festival May 23, 2023 10:00:43 GMT

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Post by DanQuixote on May 23, 2023 10:00:43 GMT

May 22, 2023 19:33:57 GMT stephen said:

Fallen Leaves:

Pete Hammond: Fallen Leaves is a flat out gem. If there is any justice Fallen Leaves will bring the filmmaker the kind of recognition he deserves. It is a true gem.

David Cuevas: Fallen Leaves, the latest from Finnish auteur Aki Kaurismäki is a delightfully deadpan addition to his working class trilogy. Unlike the other films in his saga of proletariat protagonists, this new film is far more simple; a slow but warm romance with a great sense of dry wit.

FilmLand Empire: a bittersweet rom-com, delightful, moving and quintessential Kaurismäki: the stunning compositions, the laconic characters, the bittersweet humour, the humanity… It’s elicited the biggest reactions of any screenings so far, I adored it!

Ankit Jhunjhunwala: A romance of inordinate modesty & humility. Don’t be fooled by it’s deadpan humor & impassive sobreity. Beneath the surface is enormous depth of feeling. Your heart might be a little bit larger afterwards. Best in Comp.

Manuela Lazic: trust Kaurismäki to make a beautiful film about life sucking but love being real and the only way to make it through. Spotted at least 2 references to his own CRIME & PUNISHMENT, including the great version of Schubert’s Serenade. What more do you want?

Elena Lazic: Floored by Aki Kaurismäki’s FALLEN LEAVES, the most beautiful film I’ve seen here so far.

Stephen Miller: I gather from his reception here that he is extraordinarily beloved by the festival crowd. I get what he’s doing here, I really do: this Yorgos-y, drain-emotion-and-let-absurdity-reign thing. It’s funny! I chuckled multiple times. But what does he do with it once that world is set? To me it was underwhelming, perfectly serviceable, but a wisp of a movie. This feels like the sort of thing a Cannes crowd will rave about as hilarious only to have the hype kill it. We’ll see!

Simon Santiago: Fallen Leaves is another jewel for the Kaurismaki canon. A minimalist love story between two lonely losers among karaoke, many old songs (and an outstanding modern one), vodka, bars, cinema, melancholy and tender humor. Nothing too new but who needs novelty really? Beautiful

Ema Sasic: FALLEN LEAVES is just the most delightful and silly “rom-com” you’ll find at Cannes. So much dry humor that I adore and incredible line deliveries that got the whole theater laughing. Alma Pöysti and Jussi Vatanen totally nail the tone and sell every minute of this film

Peter Howell: She’s sad but hopeful, he’s depressed and drunk — what’s not to love? Astringent auteur Aki Kaurismäki conjures a touching lonely hearts tale in this fourth chapter of his working-class “trilogy.” An unexpected crowd-pleaser from a minimalist master.

Peter Bradshaw: Fallen Leaves is another of Kaurismäki’s beguiling and delightful cinephile comedies, featuring foot-tapping rock’n’roll. Fallen Leaves is a film with a big heart, and absurd and cartoony as it may be, it fills you with a feelgood glow.

Kaurismäki is topping polls left, right and center at the moment. Could definitely see him taking something big.

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2023 Cannes Film Festival May 23, 2023 14:18:16 GMT Mattsby likes this

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Post by stephen on May 23, 2023 14:18:16 GMT

Close Your Eyes:

Bilge Ebiri: After 31 years, there is a new Victor Erice film in the world, and I can’t stop crying. Last hour totally wrecked me. I am a ruined man.

The Oscar Expert: Victor Erice’s first film in 30 years, is beautiful. It’s deeply personal. The ending wowed me.

Sam Adams: not sure any filmmaker has ever put a period on his career with as much grace as Victor Erice does with CLOSE YOUR EYES, a movie about what movies hold when memory and our minds desert us

Xan Brooks: Well, Victor Erice’s Close Your Eyes was just lovely – a lush & luxuriant sunset song of a film (shoulda been in competition). It’s long & fragile & hand-crafted, but it’s a beautiful thing & really doesn’t flag once

Simon Santiago: Victor Erice’s Close Your Eyes is a complex film. Partly a personal exorcism, partly and autobiographical self-reflection, life, memory and cinema merge in a film which feels irregular in its development but which ends up finding a beautifully painful ending.

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DanQuixote Badass Posts: 2,066 Likes: 1,094	2023 Cannes Film Festival May 23, 2023 16:00:53 GMT via mobile Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by DanQuixote on May 23, 2023 16:00:53 GMT The Erice sounds AMAZING. I have a massive watchlist from this festival atm haha.
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avnermoriarti Badass Friends say I’ve changed. They’re right. Posts: 2,296 Likes: 1,187	2023 Cannes Film Festival May 23, 2023 17:42:45 GMT Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by avnermoriarti on May 23, 2023 17:42:45 GMT Aki Kaurismaki doing whatever the hell he wants on the red carpet ❤️ at one point he asks why people are clapping if they haven't seen the movie yet...
	Last Edit: May 23, 2023 17:43:07 GMT by avnermoriarti 'There's a terror in knowing what the world is about' D.B.

stephen
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2023 Cannes Film Festival May 23, 2023 18:34:07 GMT Martin Stett, mhynson27, and 1 more like this

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Post by stephen on May 23, 2023 18:34:07 GMT

Asteroid City:

Iana Murray: the terrifying unknowns of grief and outer space meet in the open desert. about as wonderful as any wes but also one of his saddest, great stuff

Manuela Lazic: this is it, at last! The worst film I’ve seen at Cannes 2023

David Ehrlich: Wes is BACK. more than one of the very best movies Wes Anderson has ever made, this cosmic & dreamy (and sneakily moving) grief comedy offers a radical new take on his usual approach to story.

Robbie Collin: Asteroid City is a big win for the long-term Wes-heads: it’s his oddest, most conceptually audacious film yet.

FilmLand Empire: a charming ‘50s sci-fi Americana setting with a predictably brilliant art direction but where’s the script? It all feels so anaemic and aimless. The great ensemble cast is given nothing to do apart from Jason Schwartzman. A crushing disappointment

Matt Neglia: ASTEROID CITY is one of Wes Anderson’s best films. A flawless ensemble of characters are connected by a celestial event as they question their place in the universe & seek the truth in art. A cosmic perfect blend of Anderson’s distinguished style & more grounded-character work.

Peter Bradshaw: An exhilarating triumph of pure style. This tale of earth-shattering events in a space-obsessed desert town leans nicely into its own artificiality, and every delicious, microscopic detail is a delight

Bilge Ebiri: ASTEROID CITY is the best film Wes Anderson has made in many a moon. There has always been a method to Wes Anderson’s madness, but Asteroid City reminds you that there is also a madness to his method. And that, ultimately, is what makes him a great artist.

Rodrigo Perez: Wes Anderson Explores The Loneliness Of The Cosmos & Our Place In It Through Creation & Grief, But It’s Done Via 2 Different Movies That Don’t Always Fit. There’s a lot going on in Anderson’s 11th film, arguably too much—even for him.

David Cuevas: Theatre is at the creative helm of Wes Anderson’s latest; a humble hangout film that pays delightful tribute to the daddy issues spectacle of Spielberg’s Close Encounters of the Third Kind. Quiet, funny, and strangely melancholic. The life backstage lives on the silver screen

Jason Gorber: “You can’t wake up if you don’t fall asleep” – Even for fans of Anderson this will be a swallow, but this tonally wild mix of theatre, sci-fi and sardonic romance is another visually rich treat that trades whimsy for quirky. Minor, but still magical

Good morning, Oscar Buzz. I'm listening.

sterlingarcher86 Badass Posts: 1,794 Likes: 1,455	2023 Cannes Film Festival May 23, 2023 18:42:04 GMT via mobile Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by sterlingarcher86 on May 23, 2023 18:42:04 GMT I love how Wes finally broke out with the Oscar’s and decided to get even weirder.

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2023 Cannes Film Festival May 23, 2023 18:43:31 GMT Martin Stett and pashalis7 like this

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Post by Tommen_Saperstein on May 23, 2023 18:43:31 GMT

really interesting mix of opinions. The focus on sadness and grief makes it sound like Moonrise Kingdom but a lot of these comments are making it sound like new territory for him. Very excited.

pacinoyes Legend Posts: 20,084 Likes: 16,981	2023 Cannes Film Festival May 24, 2023 11:56:47 GMT Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by pacinoyes on May 24, 2023 11:56:47 GMT

stephen
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2023 Cannes Film Festival May 24, 2023 12:37:10 GMT

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Post by stephen on May 24, 2023 12:37:10 GMT

It's looking to be a murderer's row in terms of quality, but these numbers mean shite to the jury. Titane won (deservedly so) even off the back of a 1.8. And this year, Ostlund is decisive in keeping mum on any hints we might have, so we've very little to go on. I think we're gonna see some real curveballs, but I'm willing to stake on Glazer winning something (Director most likely but maybe even the Palme) and Sandra Huller.

Good morning, Oscar Buzz. I'm listening.

mhynson27 Legend Posts: 11,685 Likes: 7,410	2023 Cannes Film Festival May 24, 2023 14:28:11 GMT stephen likes this Quote Select Post Deselect Post Link to Post Member Give Gift Back to Top Post by mhynson27 on May 24, 2023 14:28:11 GMT With a few left to go, I think the Top 3 right now for the Palme are The Zone of Interest, Fallen Leaves and Anatomy of a Fall. Huller does indeed feel like a pretty good bet.
	Why so serious?

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2023 Cannes Film Festival May 24, 2023 16:09:30 GMT

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Post by stephen on May 24, 2023 16:09:30 GMT

Terrestrial Verses:

Matt Neglia: TERRESTRIAL VERSES received several rounds of applause at Cannes for its multiple defiant vignettes set in modern-day Iran that shows how intelligent, non-violent acts of rebellion are crumbling the archaic & hypocritical practices of old. An invigorating triumph of storytelling

Julien Lada: Really loved Terrestrial Verses , film with sketches of a dozen portraits of religious and patriarchal Iranian society in its oppressive, even Kafkaesque aspect. The minimalist device in fixed sequence shots is at the service of striking actors

Stephen Miller: Nine verses, each one long shot, showing how religion and power structures stifle individuality from birth until (if we consider a 10th verse) death. I frequently admire the audacity of Iranian cinema; this, though simple, was no exception.

Francesc Vilallonga: Terrestrial verses (Ali Asgari & Alireza Khatami). New pearl coming from Iran. 9 scenes, 9 fixed shots, 9 characters: a human mosaic that is an intelligent and devastating critique, without shying away from humor, of the fundamentalist totalitarianism of the Ayatollahs’ regime. very brave

Nathanaël Bentura: Discovered a little by chance, Terrestrial Verses is an Iranian nugget to discover in Un Certain Regard. Through ten segments, the absurdity of Iranian society is examined and its deprivation of freedom denounced. A film with a unique and radical form!

Good morning, Oscar Buzz. I'm listening.

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2023 Cannes Film Festival May 24, 2023 16:16:56 GMT

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Post by stephen on May 24, 2023 16:16:56 GMT

Kidnapped:

Peter Bradshaw: a gripping, heartbreaking true-political crime story from the pages of history. This already looks like a classic.

Stephen Miller: It’s possible there’s crucial Italian geopolitical subtext I’m missing, but I found this historical retelling to be sluggish and, at best, fine. Gets the job done, but I can’t imagine this premiering here if any other director’s name were on it.

Ankit Jhunjhunwala: The film that Spielberg wanted to make but couldn’t about the Pope kidnapping a Jewish child in 1860. Engrossing bt feels like it’s made at a lower budget than it should’ve been. Has sweep & momentum but lacks oomph. (3/5)

Tomris Laffly: Marco Bellocchio’s KIDNAPPED seems 2b a lesser talked about Cannes competition entry. Handsomely made period film about the devastating true story of a 19th century Jewish Italian boy kidnapped by the Vatican. The institutional villainy it depicts left me enraged & heartbroken.

Matt Neglia: KIDNAPPED (or RAPITO) desperately wants you to take its religious historical story seriously. It pronounces itself in far too grand a manner & progressively loses all focus by the end. The overwhelming score is so comically melodramatic it might as well be excommunicated. Cringe!

Manuela Lazic: once you’ve seen THE POPE’S EXORCIST, you want every film about the Catholic Church going too far to be like THE POPE’S EXORCIST, but Bellocchio doesn’t quite reach that level.

Alexandre Janowiak: Marco Bellocchio poses as a serious candidate for the Palme with his magnificent Rapito. A historical fresco of absolute beauty and heartbreaking family drama (farewells, visions of the mother), with fabulous ideas to dust off the classicism of the genre.

Alejandro G Calvo: And what do you want me to tell you that you don’t already know about Marco Bellocchio? Well, in RAPITO (KIDNAPPING) he has done it again: a brutal exercise in cinematographic classicism full of nerve, religious wafers and a fist in the wind for those who always end up losing. One point below VINCERE but there-there.

Renan Cros: I was hoping for the big film of the festival, but no… As Bellocchio constantly oscillates between the solemn and the baroque, #Rapito despite its formal beauty, it’s hard to really carry me away completely. Shame…

Pascal Gavillet: A family drama that joins Italian history. A Jewish child torn from his family to be brought up as a Christian. Sublime photography for a disenchanted film, between opacity and light. Painful and uncompromising. Gorgeous.

Wyzman K Rajaona: With this poignant family drama coupled with an incredible historical fresco, Marco Bellocchio offers a real lesson in cinema. And reminds us, by the way, that guilt and shame are the greatest poisons there is.

Good morning, Oscar Buzz. I'm listening.

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