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Cannes 2022: One Fine Morning, Armageddon Time
One Fine Morning, Mia Hansen-Løve’s eight feature, messily synthesizes familiar recurring autobiographical threads. The writer-directors’s parents were philosophers whose divorce was traced over in the excellent Things to Come. Isabelle Huppert stood in for her mother there; One Fine Morning takes the daughter’s perspective, with Hansen-Løve rendered as translator Sandra Kinsler (Léa Seydoux). With father Georg (Pascal Greggory) increasingly hollowed out by a rare neurodegenerative disease, Sandra and her mother, Georg’s ex-wife Françoise (Nicole Garcia), are forced to make a number of draining caretaking decisions. (In the press kit, Hansen-Løve says she was “partly inspired by my father’s illness while he was still alive.”) When the understandably stressed […]
by Vadim Rizov on May 20, 2022 -
Cannes 2022: Final Cut
Ticketing catastrophes, internet outages at the badge claim station, and complimentary gold buttons featuring lame movie-related quotes from uncited sources in either French or broken English—“I swear to you: I had an eye contact with Timothée,” reads mine—in sans-serif font atop the number 75. A quick Google search tells me that the traditional gift to celebrate a 75th anniversary is diamonds, but two days into Cannes’ three-quarter century extravaganza I might’ve guessed it was lead. The inauspicious Opening Night Film selection, Michel Hazanivicius’s Final Cut, was in lockstep with the festival’s other launch fumbles. Scooped up by Thierry after the […]
by Blake Williams on May 19, 2022 -
Packing for Cannes, “d’Actes Malveillants,” and L’Envol: Sarah Winshall’s Cannes Producer Diary, #1
I’m on the train from Paris to Cannes to attend the Cannes Film Festival for the first time. I haven’t arrived yet but so far going to Cannes has meant a whirlwind of preparation: joining many WhatsApp threads from the various colleagues I know who are attending and mostly texting outfit photos and repeatedly reconfirming the red carpet dress code, hitting refresh a million times on the festival’s overwhelmed and unreliable online ticketing website (rumor has it, hackers are to blame!) desperate to book tickets to films before they sell out, switching my Google calendar between PDT and CEST as […]
by Sarah Winshall on May 19, 2022 -
Cannes 2022: Scarlet
At the Nice airport, a sign greets arrivals with “Welcome to the Côte d’Azur” in French, Russian and (smaller type) English, giving an idea of the area’s most regular visitors. But at this year’s Cannes, the yacht count is likely to be down, what with presumably diminished attendance from extremely wealthy Russians. The first person to point that out was a friend before leaving, the second a stranger on the bus from the airport to Cannes—one of a pair arriving to raise financing for four features in development and a fifth in post, which they said was “more of a […]
by Vadim Rizov on May 18, 2022 -
Nine Films to Anticipate at the 2022 Cannes Film Festival
As, just before heading to the airport, I post this brief list of films we at Filmmaker are especially excited to see at the 2022 Cannes Film Festival, cinema’s most prestigious annual event is already having something of a bumpy opening, with a new (for those who didn’t experience its debut in last year’s low-key mid-pandemic edition) ticketing system returning all manner of “504 Gateway” errors and obscure messages, some of which contain their own brutal poetry: “Validation of viewstate failed… Purpose, purpose…” (Press has seen some alleviation as those badges are now redirected to a new server, while market […]
by Scott Macaulay on May 17, 2022 -
Back to One, Episode 202: Alison Pill
I was lucky to catch Alison Pill on Broadway, 16 years ago, in The Lieutenant of Inishmore, and then became enamored with her work in shows like In Treatment, The Newsroom, Devs, and movies like Scott Pilgrim vs. The World and Milk, to name just a few. Nowadays she plays Dr. Agnes Jurati on the series Picard, and stars with Sarah Gadon in Michael McGowan’s new film All My Puny Sorrows. She shares what she believes to be the secret ingredient that made that film work, and talks about how adopting a physicality for a character is foundational to her […]
by Peter Rinaldi on May 17, 2022 -
On Set with Flamethrowers: Keith Thomas on Firestarter
Released in the fall of 1980, while Stanley Kubrick’s film adaptation of The Shining continued to horrify audiences in theaters, Stephen King’s eighth novel, Firestarter, tells the story of Charlie McGee, a young girl struggling to control her pyrokinetic powers. Her parents knew this would be an issue: years earlier, Andy and Vicky McGee participated in a trial run of a new chemical compound, Lot Six, that embedded telekinetic and mind-controlling powers that shady government officials now wish to end. A run in with Rainbird, who had also been experimented on and now acts as a hired assassin wiping out […]
by Erik Luers on May 16, 2022 -
Czech That Film, Highlighting Recent Czech Cinema, Runs Online Through May 22
Czech That Film, the annual festival highlighting the best of recent Czech cinema, is now in the midst of its 11th edition. The festival has customarily travelled to over 20 cities, but given the ongoing pandemic, this year’s edition is partially online, with films available to stream on the Artinii platform. From the website: The event was established to accommodate increased interest in Czech cinema and culture in the United States and is dedicated to raising profile of current Czech films at an international level. It provides an opportunity for American enthusiasts of global cinema to experience successful new Czech […]
by Scott Macaulay on May 15, 2022 -
Trailer Watch: Tzvi Friedman’s Man
In my print issue article (now online) on two ultra-low-budget filmmakers, I described Tzvi Friedman’s Man as an “an eerily austere New York-set serial killer drama with a (possible) science-fiction twist and impressive formal control.” As the film finishes post-production and begins submitting to festivals, Friedman, who is making his feature debut with Man, has sent Filmmaker an early teaser from the film that aptly showcases its depiction of dread-filled urban anomie and assured tone. As I write in my piece, “The film was inspired when Friedman was locked out of a Brooklyn apartment where he was sleeping and wound […]
by Scott Macaulay on May 13, 2022 -
“Contrast is the Toughest Thing to Shift”: DP Nigel Bluck on the Two Nicolas Cages of The Unbearable Weight of Massive Talent
One of New Zealand cinematographer Nigel Bluck’s first breaks as a young DP came shooting 2nd unit on the original Lord of the Rings trilogy. He had one feature film under his belt and little visual effects experience, but Bluck learned on the job and persevered through nine months of bluescreen-draped soundstage work. Two decades later, the now-seasoned Bluck faced another new challenge with The Unbearable Weight of Massive Talent. “I’m not a comedy guy, normally,” said Bluck. “This is the warmest and funniest movie I’ve ever shot.” It’s definitely the Nicolas Cage-iest movie anyone has ever shot. The Oscar winner plays […]
by Matt Mulcahey on May 13, 2022
