Tag: Cannes Film Festival

  • Music, Memory, and Madness at Cannes, Part One: Gaspar Noé and the Death of Community

    I was already noting just how many of the films in the first half of Cannes this year seemed to foreground music and tales of social transformation — and then I saw Gaspar Noé’s Climax, essentially a series of increasingly disturbing dance sequences depicting the initial glory and eventual destruction of an inclusive, exuberant community that […]

  • The Day They Canceled Cannes

    “Get the tuxedo ready, it’s time for the new Godard.” Imagine uttering these words. And yet, here we are. As I type this, people all across Cannes are unpacking the fancy clothes they will wear to the gala premiere of the New Wave icon’s latest provocation, Le Livre d’Image, playing in Competition at the film […]

  • You’ll Probably Argue More About “The Square” Than Any Other 2017 Movie

    Ruben Östlund’s The Square, which won the Palme d’Or at Cannes this past May, probably says more about the times we’re living in than any other film you’re likely to see this year. And yet the beauty of the movie is that everybody will have their own ideas about what, exactly, it is saying. It’s not […]

  • The 12 Best Movies From the 2017 Cannes Film Festival

    The 2017 Cannes Film Festival wrapped up last Sunday with a slate of generally predictable (and perfectly worthwhile) awards. And while it may have been a somewhat lackluster year for the festival’s main competition, there were plenty of cinematic treasures to be found on the Croisette — even a couple of outright masterpieces. Here are […]

  • The Best Film At Cannes Almost Didn’t Make It There On Time

    One of my favorite things in the Village Voice archive is Molly Haskell and Andrew Sarris’s coverage from the 1979 Cannes Film Festival, wherein they recount the breathless, will-he-make-it anticipation for the arrival of Francis Ford Coppola’s decade-in-the-works Vietnam epic, Apocalypse Now. That year’s other fest titles, as Haskell notes, were met with a combination of […]

  • Fatih Akin’s “In the Fade” Is More Triumph Than Disaster

    The last shot of Turkish-German director Fatih Akin’s In the Fade might be its most important — a key to unlocking the film. I’m not giving too much away to say that it’s an image of an upside-down sea, mirroring in some ways the seaside setting of the final scene. It calls into question the […]

  • Cannes’s Beguilements

    Imagine a remake of Cape Fear shot like Kubrick’s The Shining, with Max Cady recast as a child, and you’ll have some idea of the strangeness of Yorgos Lanthimos’s The Killing of a Sacred Deer. The film has quickly proved to be one of the most divisive titles at this year’s Cannes festival, thanks to […]

  • Andrei Zvyagintsev on His Tragic Fairy Tale “Loveless,” Today’s Russia, and Selfies

    Russian director Andrey Zvyagintsev’s Loveless screened the opening night of the Cannes Film Festival and emerged as one of the major contenders in competition. (You can read my review here.) Not unlike Zvyagintsev’s Oscar-nominated 2014 triumph, Leviathan, which also won Best Screenplay at the festival, the new film, about the search for a missing child, is […]

  • Chloé Zhao’s Cowboys Are Still in the Spotlight

    Though most of the attention at Cannes is directed toward the Official Competition titles — the ones vying for the Palme d’Or — there are films to discover everywhere. Directors’ Fortnight, for example, is technically a separate festival, one that makes its own programming decisions. As he was awarded a lifetime achievement award on the […]

  • All Hail The Super-Pig

    In the run-up to this year’s festival, Bong Joon-ho’s Okja was one of the most mysterious titles in the Official Competition lineup. Now that people have seen it, Okja has turned out to be…one of the most mysterious titles in the Official Competition lineup. What is it, exactly? A children’s movie? An action flick? A […]