Tag: Cannes Film Festival

  • Cannes Diary, 1994: Riviera of No Return

    Riviera of No Return June 7, 1994 Here I am back in the land where a taxi driver carries not a weapon but the two-volume Brothers Karamazov. Mine is two-thirds the way through vol­ume I and clearly anticipating II. Can it be that this urge to read accounts for the national system of taxi stands […]

  • The 14 Best Movies at the 2018 Cannes Film Festival

    We live in interesting times. Sadly. Many of the titles at this year’s Cannes Film Festival seemed understandably preoccupied with the role of the artist in a changing world — be it through stories of writers and filmmakers wrestling with the political and economic realities around them, or through allegorical tales that asked whether goodness […]

  • A Tale of Many Godards

    There were many indelible images from this year’s Cannes Film Festival, but the one I’ll always carry with me is this: The sight of an 87-year-old Jean-Luc Godard, looking bemusedly out of a cellphone screen, as he conducted a remote press conference via FaceTime about his new film, Le Livre d’Image (The Image Book). I beheld this surreally […]

  • “The Wild Pear Tree”: Nuri Bilge Ceylan Gets Personal

    “And then there’s the Ceylan…” I lost count of how many times I heard this during Cannes this year. When one looked at the competition schedule, it was hard to ignore the rough, fearsome beast lurking there right at the end: Ahlat Ağacı (The Wild Pear Tree), a 188-minute film from Turkish director Nuri Bilge Ceylan, […]

  • Keep Tilting, Terry: With the Magical “Man Who Killed Don Quixote,” Gilliam Embraces the Madness

    First, let’s just be glad that it finally exists. Terry Gilliam has had so much trouble getting The Man Who Killed Don Quixote made that the film has inspired two documentaries over the course of its nearly three-decade-long journey to the screen. In this, Gilliam joins fellow cursed genius Orson Welles, who worked on his […]

  • “2001: A Space Odyssey” and the Limits of Vision

    One of the hottest tickets at Cannes this year was for a fifty-year-old movie that pretty much everybody had already seen and would soon be back in release. Stanley Kubrick’s 2001: A Space Odyssey, a film that had never screened at Cannes, made by a director who had never come to Cannes, arrived here courtesy […]

  • Sex, Obsession, and Class in “Under the Silver Lake” and “Burning”

    If you’re going to make a postmodern neo-noir sex-conspiracy wannabe-mindfuck set in Los Angeles, it helps to have some personality, or at least a sense of style. With Under the Silver Lake, David Robert Mitchell (It Follows) seeks to play in the sandbox of Paul Thomas Anderson, David Lynch, and Brian De Palma (and maybe even […]

  • Deconstructing Lars: “The House That Jack Built” Is an Empty Apologia From Von Trier

    No matter how much you might hate Lars von Trier, don’t forget that he hates himself more. That’s been pretty evident in his last several films, but now he’s gone and made an entire movie about it. The House That Jack Built might be, on its surface, about a serial killer relaying to us, in […]

  • Spike Lee’s “BlacKkKlansman” Seizes the Moment (and the American Past)

    Spike Lee’s BlacKkKlansman, which arrived in Cannes yesterday to a rapturous reception, is a tonal roller coaster, and therein lies much of its unique power. It’s alternatingly comic, heroic, tragic, horrifying, ridiculous, dead serious, clear-eyed, and confused; it shifts into moments of documentary and even essay film, but it’s also one of Lee’s more entertaining and […]

  • Music, Madness, and Memory at Cannes, Part Two: “Cold War,” “Sorry Angel,” and the Mysteries of Love

    Pawel Pawlikowski’s Cold War begins with close-ups of folk musicians loudly playing for the camera — a curiously in-your-face way to start such a carefully modulated film of shimmering, classical precision; it’s as if Casablanca had kicked things off with a raucous gypsy band. But this opening also presents a subtle clue to reading the rest […]

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