Tim Grierson: Juliette Binoche and Benoit Magimel make an appetising combination in Tran Anh Hung’s food-themed Competition entry
Jason Gorber: Absolutely exquisite tale of love through food, the near pronographic seduction showcasing French cuisine as a means of expression. If action can be dialogue, we see meal prep here as salacious and sensual as any embrace.
Guy Lodge: The pace is luxuriantly slow but methodical, akin to slow-cooking a boeuf bourguignon, and quickened by the gradual rewards of process: the calming satisfaction that comes from watching supremely skilled people at work.
Iana Murray: juliette binoche and benoit magimel cooking the most beautiful meals you’ve ever laid your eyes on needs to win the palme i’m so serious
Matt Neglia: I ate up everything THE POT-AU-FEU was serving. A tender romance between two cooks where their love can only be matched by their skills in the kitchen. Had me in the opening 20 minutes where you see a meticulously luscious meal prepared. A comfort food movie with exquisite taste.
Robbie Collin: Tran Anh Hung’s culinary romance is so vividly and lovingly made, you’ll swear you can smell and taste every shot.
John Bleasdale: The Pot au Feu by Trần Anh Hùng was just what I needed. A feast in more senses than one with Benoît Magimel giving another magnificent performance. In a festival of vomit and fear it’s good to have a little love and nosh.
Alexis Roux: The air of nothing, LA PASSION DE DODIN BOUFFANT brilliantly succeeds in capturing the magic of culinary art and the fragile beauty of the feeling of love that its many rituals reveal. Extraordinary Magimel and Binoche.
Matthieu Touvet: It’s anti-Club Zero. A daring but successful bet to base an entire film on the art of French cuisine. The dialogues sometimes border on the grotesque but Binoche and Magimel are doing wonderfully. Not to be seen when hungry.
Charles Bramesco: contains the single most important match cut since those apes threw the bone in the air. Foodliness is next to godliness, and godliness is next to Binocheliness
Fabiana Lima: La Passion by Dodin Bouffant is a romantic period drama in which an initially gastronomic story turns into a novel worthy of Jane Austen. It’s not my type of film, but the direction gets it right in provoking hunger lol – and printing passion. Juliette Binoche shines.
Ankit Jhunjhunwala: Film set dramedy. Tries hard to be “fun”.Moments of grace & beauty scattered within a highly unnatural movie-movie. Everyone talks & behaves like they know they’re in a film. Ultimately plays like late period Woody Allen.(3/5)
Ilana Oliveira: A Brighter Tomorrow has a Nanni Moretti completely surrendered to wills, love and respect for cinema, and irreverence to the industry. The funniest in competition so far
Matt Neglia: A BRIGHTER TOMORROW is Nanni Moretti’s often hilarious look at modern-day filmmaking. The struggles between art & entertainment, pitch meetings with Netflix, voicemails to Martin Scorsese, musical numbers, it’s all here in what amounts to a frustrating but hopeful meta-commentary
Leonardo Goi: As someone who *really* enjoyed early Moretti, it pains me to say that A BRIGHTER TOMORROW isn’t a return to form so much as a regression. A film that’s drenched in self-righteous and reactionary nostalgia.
Victor Russo: Nanni Moretti’s irony and self-irony, as well as the metalanguage within the metalanguage, is nothing new in his cinema, but it always seems to renew itself to fit the new times of life and films (would there be a difference?) . What a delightful film.
Stephen Miller: A self referential comedy about a director making a movie, this one is clearly channeling the spirit of Fellini but none of the precision: it’s shaggy by design, sometimes feeling less like a movie than an episode of Curb…
Peter Bradshaw: The Italian director’s comedy-drama about a failing film-maker is full of non-comedy and anti-drama – a complete waste of time. Everything about it is heavy-handed and dull.
Caspar Salmon: Nanni Moretti’s IL SOL DELL’AVVENIRE is an often joyous return to form that functions as a kind of Greatest Hits – there are references to Caro Dario, Aprile and The Son’s Room. Moretti himself is front and centre for the first time in years: he is funny and touching.
Charley James: With Il Sol dell’avvenire, Nanni Moretti returns in fine form (in front of and behind the camera) with this feel-good comedy where a marital crisis collides with a reflection on the future of cinema, as well as of his country. Laugh and smile today at Cannes 2023
Christina Newland: The Italian filmmaker takes on Netflix (and more) in a heartfelt, if clunky dramedy. The results are frustrating and lessen the overall impact of the film, which has its heart in the right place, even if that place often feels stuck in the past.
Peter Debruge: While the ‘Dear Diary’ helmer’s brand of comedy-melodrama isn’t for everyone, his latest Cannes competition entry makes the case for what he thinks movies can and should be.
Stephen Miller: This doc/narrative hybrid out of Tunisia was such a lovely experience. Impossible to be objective when I’m watching this family re-enact their lives on screen while they sit across the aisle from me and audibly react: so many emotional layers!
Mark Asch: Cannes loves an Arab film affirming Euro critiques of Islamic misogyny but this re-enactment doc, about two sisters who became Daesh war brides & two sisters left behind, is no HOLY SPIDER—trauma handed down from mom to daughter is a universal subject.
Ali Benzekri: If you want something different, you will be served. It’s hard to see this exercise in style and stay indifferent. However, there is a certain questionable impudence to its messy and invasive approach.
Madeleine Probst: Kaouther Ben Hania’s Four Daughters digs deep beyond the headlines of young girls’ radicalisation to reveal the life story of mother Olfa and her four daughters in an almost Brechtian docu-drama that shifts effortlessly between pain, joy and even some hope
Peter Bradshaw: Ben Hania seems to have embarked on this process with an open mind, having no clear idea what light this approach would shed on the case. However, these women have such a presence on screen that their sympathy drives the movie.
Ankit Jhunjhunwala: Bracing, stunning re-enactment of a Tunisian family losing 2 daughters to ISIS radicalization. Extraordinary use of the doc form -gripping, revealing, candid insight from people who were right on the brink. Def earns Comp slot.(3.5/5)
Ilana Oliveira: I left Four Daughters with the feeling that I had committed a crime, because the film makes me an accomplice in the abuse it inflicts on the image and history of this family
Victor Russo: The proposal to reenact real events is not new, but it would even be interesting if the film did not explore so much the pain of people who are already fragile and because in practice the documentary is much more traditional than you think, almost non-existent scenes
Marie Serale: A hybrid documentary, Les Filles d’Olfa shows precious moments, deconstructing a family with the loss of two daughters. The game device proposed by Kaouther Ben Hania reinforces the accuracy of the film, without ever tipping towards a superficial fiction.
Matt Neglia: JUST THE TWO OF US is a solid domestic abuse drama that doesn’t break any new ground but is held up by two stellar performances from Virginie Efira & Melvil Poupaud. Valerie Donzelli does a commendable job placing you inside the head Efira’s character & keeping the tension up.
Martyn Conterio: Valerie Donzelli’s domestic abuse psycho thriller boasts two great central performances by Melvil Poupaud and Virginie Efira, plus a fab score by Gabriel Yared.
Manuela Lazic: an often precise look at the breakdown of a relationship into emotional abuse. Sometimes too textbook but with some surprising turns & melodrama that translate how difficult it may be to recognise such dynamics. Poupaud is great casting.
MovieRama: masterful adaptation of the work of Eric Reinhardt and highlighting the phenomenon of control in the couple. Virginie Efira exceptional. Terrifying Melvil Poupaud as a gifted manipulator.
Fabien Lemercier: Valérie Donzelli arguably delivers her best film yet, charting with formidable, novelistic acuity the trajectory of a woman falling under the control of a man. Melvil Poupaud and Virginie Efira at their best
Jean-Baptiste Morel: Sublime L’Amour Et Les Forêts, I use my joker “it would have looked good in competition”. 34th great consecutive film for Virginie Efira, who has such a fine nose for unearthing successes that we should choose her to replace Frémaux.
Martyn Conterio: Virginie Efira on fire again! She plays a mum trying to get her kid out of foster care. Less social realism more character study of a woman finding her inner rebellion against a system. When she head butts the social worker, the entire room cheered
Stephen Miller: An empathetic film about a woman losing her son to the foster system; filled with rage at bureaucracy, like something Loach would make. A simple story told simply, but Virginia Efira shines in the best UCR performance I’ve seen this year.
Bethany Lola: A film that merits as big of an audience as possible, starring the sensational Virginie Efira! Director and writer Delphine Deloget hasn’t come to play with her first fiction feature film.
Jean-Baptiste Morel: Another Efira movie, Rien à Perdre is less strong than L’Amour Et Les Forêts, the fault of an ambiguity in the writing, which in fact gives the film a more disjointed than intriguing aspect. The ovation to the headbutt to the girl from the children’s aid in Debussy, it bothered me a lot
Victor Russo: The exploration of the pain of a single mother who suffers to take care of her children and loses one of them due to an absurdity of justice. We were restricted to seeing Efira crying, screaming and despairing. Couldn’t be more generic.
Stephen Miller: Following a few days in the life of a public toilet cleaner in Shibuya, this is Wim’s PATERSON. Finding beauty in the everyday routine of life and lowering my blood pressure in the process. Audience response seemed tepid but I loved it to pieces.
Gregory Ellwood: Wim Wenders Perfect Days is wonderful. Late Palme d’Or winner?
Guilherme Jacobs: Wim Wenders made a film about a routine, and how nothing extraordinary needs to happen to have a perfect day. We see days and days in the life of a Japanese janitor who communicates more through the music he listens to than through lines. The track makes a great playlist.
Ankit Jhunjhunwala: 12 days in the life of a Tokyo toilet cleaner. His repetitive schedule, directed with unassuming grace, illuminates his soul. A Japenese PATERSON. Features more toilet cleaning than SYNECDOCHE NEW YORK. Koji Yakusho tremendous.(3.5/5)
Therese Lacson: Wim Wenders’ Perfect Days is genuinely a wholesome, melancholy, and hopeful film. It thrives in the mundane and routine of life. Kōji Yakusho is masterful in his performance with minuscule expressions that speak volumes. Easily one of my favorite films of Cannes 2023
Guy Lodge: He’s made some of my all-time faves, but Wim Wenders has had such a dispiriting run of bad fiction films that I was semi-dreading PERFECT DAYS. Lo and behold, it’s lovely. A sweet, humane ode to routine and classic rock: bet on Koji Yakusho for Best Actor.
The Oscar Expert: Perfect Days is a gem. A moving ode to simplicity and how we choose our days. Kôji Yakusho could even snag the best actor prize.
FilmLand Empire: a moving exploration of extreme loneliness and of a dreary everyday life, depicted through some purposely dry scenes, punctuated by the most fleeting moments of companionship. All the more affecting as it feels true to life. Koji Yakusho is wonderful
Matt Neglia: PERFECT DAYS initially seems repetitive as it follows the daily routine of a toilet cleaner in Tokyo but patience & further examination reveals a deeper character study with rewarding results. A beautifully serene film that will gently rock your soul. Koji Yakusho is wonderful!
Matteu Maestracci: an assumed feel-good movie, slow contemplative and musical, shot in three weeks in Shibuya, with an excellent (and not very talkative) Koji Yakusho. It’s magnificent, it’s pleasant, it’s Wim Wenders.
Francesc Vilallonga: For me, the big surprise of the festival. Reuniting with the best Wenders, with a gem that is a deep look at the beauty of small everyday things. Pure sensitivity. First cousin of Jarmusch’s “Paterson”. A real delight.
Ankit Jhunjhunwala: Tale of older woman sleeping with her underage stepson is deeply engrossing & well made bt doesn’t add to canon of similar films. Todd Haynes’ MAY DECEMBER more provocative with more to say. Starts well, by the end it’s 🤷♂️.(3/5)
Stephanie Bunbury: Catherine Breillat certainly hasn’t pulled back from her vocation to dumbfound the bourgeoisie, but it would be a mistake to think of her as merely a cinematic shock jock, going for effect over substance. Outrage is her weapon. In Last Summer, every shot finds its target.
Victor Russo: Addicted to teasing, Breillat creates a soft p*rnô far less subversive than she thinks
Ali Benzekri: Problematic Breillat remakes a recent Danish film because she needed to include all the enablers in her twisted take on child protection. One of the most good looking films this year and that ending.. Chills!
Emilio Diaz: The Catherine Breillat, Last Summer is genuinely tough to watch in a good way? You aren’t at a film festival unless you spend 90 minutes watching a French movie before maybe realising it was supposed to be funny
Peter Bradshaw: Breillat seems to have retreated from the uncompromising approach to sexuality that she showed in famous films like Á Ma Soeur!
Stephen Miller: Clearly made by a gifted filmmaker: the mood, composition, it’s all well crafted. But considering the topic—a forbidden affair between a woman and her stepson—this has surprisingly little to say. Rings as a hollow exercise, with lazy plot mechanics to boot.
Donald Clarke: Look, I know Catherine Breillat’s LAST SUMMER is based on a Danish film. But it still plays like generic sexy stepmom French flick 654A (circa 1978).
Matteu Maestracci: Very mixed feelings about “Last Summer”, Léa Drucker’s performance, often excellent, is breathtaking here. But the story is a bit linear, and this bourgeois setting – often chloroformed and sluggish – does not seem to interest Breillat more than that.
Tim Grierson: : If nothing else, an excellent excuse to hear Sonic Youth’s “Dirty Boots” loud in a theater. And, come to think of it, Lea Drucker would be a great Kim Gordon.
Pascal Gavillet: Great transgressive film on desire and fear, carried by a perfect Léa Drucker. Divisive and not intended to please, the film advances beyond moralism, supported by a sunny setting without fuss.
Matt Neglia: THE OLD OAK is your typical Ken Loach social commentary film about the strength of a community coming together to overcome hardship, loss & tragedy. Tackles the Syrian refugee crisis with good intentions & a pure heart. Two solid, tender performances from Dave Turner & Ebla Mari.
Nikki Fowler: Ken Loach and Paul Laverty’s ‘The Old Oak’ is simply beautiful. You’ll be incredibly moved with this story on family, humanity, friendship, loss and political turmoil right down to the end, with stellar performances by Dave Turner and Ebla Mari, as Syrian refugees appear suddenly in an old mining town in Northeastern England
Luke Hearfield: Once again Ken Loach has left me a blubbering mess 😭 The Old Oak is a powerful and beautiful film about overcoming racial division and embracing solidarity and hope. There’s also two dignified performances from Dave Turner and Ebla Mari. One of my fav’s of Cannes 2023 for sure.
Devika Girish: Yes, it’s broad & a bit corny, but Ken Loach’s THE OLD OAK is the only Cannes film to make me cry. To see rage, compassion, & hope represented w/such impassioned directness—esp after 2 wks of watching filmmakers do formal backflips to get somewhere vaguely political—is bracing.
Ankit Jhunjhunwala: Tone-deaf, reductive racism drama sets cinema back 80 years. School play level plotting & characterization. At what point do naiveté & good intentions become offensive. Oof. As bad as R.M.N. Please stop with these movies at Cannes. (0/5)
Anaïs Bordages: It’s obvious that there are still people who are moved by Ken Loach’s cinema. Unfortunately I am not one of them because my heart is dead and full of brambles.
Julien Lada: If we must undoubtedly resign ourselves to thinking that Ken Loach has reached the end of his cinema and that his inspiration has dried up, at least there is a little more cinema in The Old Oak than in his previous efforts. It’s not enough, but that’s it.
Alexandre Jowiak: Unsurprisingly, The Old Oak is yet another flat social (television) film in which Ken Loach (with the complicity of Paul Laverty) mixes everything with annoying opportunism in a great demago and simplistic recital ready to do anything to make you shed tears.
Ali Naderzad: THE OLD OAK is Ken Loach’s most somber film in memory (we’re a ways away from THE ANGELS’ SHARE here), a somber film that’s nevertheless rewarding for its justness and its humanity. Enjoyable!
Charles Bosson: THE OLD OAK, a very tired little Ken Loach, who only plays the pathos card and delivers a simplistic vision of the world and a terribly predictable plot. We could have done without this nice Friday sermon…
Victor Russo: In an unstable situation in the second phase of life, locals point to immigrants as responsible. I like how Loach still finds some optimism and hope for unity, not so much in how heavy the hand in manipulation.
David Ehrlich: Josh O’Connor stars as a sad and grumpy archaeologist / tomb raider in Alice Rohrwacher’s excellent follow-up to Happy as Lazzaro, easily the best Indiana Jones movie of the year.
Matt Neglia: LA CHIMERA is a slow-burn existential look at how far we’ll dig in the earth to find what really matters to us. A rich exploration of archaeological thieves with strong work from Josh O’Connor. Alice Rohrwacher’s bold choices are fascinating, but not all of them added up for me.
Clayton Davis: There’s lots I liked about Alice Rochwacher’s La Chimera. A lovely reminder that Isabella Rossellini is one of our best, and we should really get on her Oscar mode moment soon. Josh O’Connor has hit his Hugh Grant-Colin Firth mode in his career and is about to be on posters.
Douglas Greenwood: LA CHIMERA feels like it was dug up from the earth. A handsome excavation of romance and memory that swept me up and, hours later, still really hasn’t let me go. Rohrwacher does it for me every time; my favourite O’Connor (speaking mostly Italian) role yet.
FilmLand Empire: Italy’s abrupt, poetic juxtaposition of the past and present. Alice Rohrwacher’s theatrical social realism at its most creative, evocative and free with her motley crew of Commedia dell’ arte art thieves. Immense!
Guy Lodge: If you thought Alice Rohrwacher working with Josh O’Connor might trigger the ol’ world-cinema-auteur-flounders-in-English curse, think again, for LA CHIMERA is 1) predominantly in Italian, and more importantly, 2) a delight.
Rafa Sales Ross: A big round of applause for Josh O’Connor, who’s extraordinary in Alice Rohrwacher’s LA CHIMERA
Robbie Collin: Josh O’Connor is an essential addition to the Misadventures of a Horny Loser in a Crumpled Suit canon. Fabulous stuff, prize I hope
Phil de Semlyen: La Chimera is fabulous: a devilishly murky crime carnivalesque embroidered with Alice Rohrwacher’s magical realist touches. Josh O’Connor is great as a gone-to-seed Englishman abroad. (At this point in Cannes, it’s a hard relate)
Manuela Lazic: disappointed by Alice Rohrwacher’s tale of ruins and grief, too scattered to be effective with moments of Fellini-esque poetry that don’t convince. That linen suit on Josh O’Connor looks great tho!
Caspar Salmon: Quite disappointed by CHIMERA, the new film by Alice Rohrwacher, whose previous films I love. Her image-making is still rich and wondrous, and there are ideas galore here, but I think Josh O’Connor is badly miscast & hampered, and there’s an annoying surfeit of quirk.
Palme d'Or:Fallen Leaves Grand Prix:Perfect Days Jury Prize:The Old Oak Best Director: Jonathan Glazer, The Zone of Interest Best Actor: Josh O'Connor, La Chimera Best Actress: Sandra Huller, Anatomy of a Fall Best Screenplay:About Dry Grasses
Palme d’or: The Zone of Interest Grand Prix: La Chimera Jury Prize: Fallen Leaves Director: Todd Haynes, May/December Screenplay: Monster Actor: Koji Yakusho, Perfect Days Actress: Sandra Hüller, Anatomy of a Fall & The Zone of Interest
Also considering a few switches....... Anatomy of a Fall for the Palme, Glazer for Director, Moore/Portman for Actress.
Palme d’Or - THE ZONE OF INTEREST by Jonathan Glazer Grand Prix - FALLEN LEAVES by Aki Kaurismäki and ANATOMY OF A FALL by Justine Triet Prix du Jury - MONSTER by Hirokazu Kore-eda Best Director - Jessica Hausner for CLUB ZERO and Marco Bellocchio for KIDNAPPED Best Actor - Koji Yakusho for PERFECT DAYS Best Actress - Ebla Mari for THE OLD OAK Best Screenplay - Nuri Bilge Ceylan for ABOUT DRY GRASSES
He ran until the sun came up and he couldn't run any further.
Grand Prix: The Zone of Interest by Jonathan Glazer Jury Prize: Fallen Leaves by Aki Kaurismäki Director: Tran Anh Hung for The Pot-au-Feu Actor: Kōji Yakusho for Perfect Days Actress: Merve Dizdar for About Dry Grasses Screenplay: Yûji Sakamoto for Monster Camera d’Or for Best Debut Film: Thien An Pham, Inside The Yellow Cocoon Shell