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“Maybe Life is Just Killing Time Between Festivals”: Sarah Winshall’s Cannes Diary #3
Producer Sarah Winshall (We’re All Going to the World’s Fair) has been posting diary entries from her trip to the 2022 Cannes Film Festival. Read her previous reports here. Don’t worry guys, I’ve gotten some rest and I’m feeling much better. In fact, I’ve been back home in Los Angeles two nights and both nights I dreamed I was still in Cannes. They were pleasant dreams in which my subconscious invented new films that everyone was excited to see, I bumped into new friends and was whisked off to various parties. In these dreams I’m rushing around but I’m not […]
by Sarah Winshall on May 29, 2022 -
Cannes 2022: The Awards, Close, Broker and Boy from Heaven
Only a couple of months after the Academy of Motion Picture Arts and Science’s completion of their decades-long endeavor to totally delegitimize the Oscars, Cannes provided another argument for doing away with all cinema awards entirely. The Vincent Lindon-led jury of nine couldn’t manage to make admirable choices even as they lauded virtually half the contenders in the field. Then again, at least one member of said jury admitted to not knowing who or how old Jerzy Skolimowski is until after the screening of his radiant EO—ex aequo winner, nevertheless, of the Jury Prize (something like third or fourth or […]
by Blake Williams on May 29, 2022 -
Cannes 2022: Godland, Pacifiction
Day 10 is winding down, and it’s become quite clear that, as was the case for the Berlinale last February, this year’s Cannes is a significant regression after a 2021 edition that overflowed with a pre-pandemic backlog. So many of the films I’ve seen, produced and completed (if not completely developed) in the midst of COVID-era constraints, have felt smaller, cheaper, cruder than what I’ve encountered here in editions past—not a judgment per se, of course, but a new, ill-fitted look from a festival that so pointedly touts its eventitude: the spectacle, the glamor, the scope of its pet auteur’s […]
by Blake Williams on May 26, 2022 -
Cannes 2022: De Humani Corporis Fabrica, Crimes of the Future, Jerry Lee Lewis: Trouble in Mind, Les Amandiers
The man sitting two seats over had averted his eyes from the screen a few times before he finally hit his breaking point. I saw a penis and a drill of some kind coming right for the urethra and heard a doctor saying that he was going to put the device on the “Kalashnikov setting.” What, I wondered, might that mean? When the drill started pumping away and blood spurted, the poor guy had had enough and exited swiftly, and I absolutely couldn’t blame him. This was the second screening of the instantly infamous De Humani Corporis Fabrica that day; after the […]
by Vadim Rizov on May 25, 2022 -
“The Way the Janes Approached This, One Woman at a Time, Helped 11,000 Women Get Safe Abortion Care”: Tia Lessin and Emma Pildes on “The Janes”
The Janes, which closes this year’s Human Rights Watch Film Festival in-person May 26, followed by an HBO premiere June 8, is one woefully prescient walk down pre-Roe memory lane. Directed by Academy Award nominee Tia Lessin (Trouble the Water, which also nabbed the Sundance Grand Jury Prize and the Gotham Independent Film Award back in 2008) and Emmy nominee Emma Pildes (Spielberg, which the debut director likewise produced for HBO), the doc tells the illicit tale of the titular underground network of college-age activists who defied the law and male expectations to provide women in Chicago with safe, shame-free […]
by Lauren Wissot on May 25, 2022 -
Back to One, Episode 203: Giancarlo Esposito
Few characters born in this current ‘Golden Age of Television’ rise to the legendary status of Gustavo Fring. Giancarlo Esposito brought the drug kingpin to life on Breaking Bad and now he’s finishing out (or filling in) his arc on the prequel Better Call Saul. On this episode, Esposito talks about the careful way he “whispers” a new character into existence, and why the identification and breaking down of his own resistances is so important. He tells the story of the eureka moment he had reading the words “hiding in plain sight” and how that opened up the character for […]
by Peter Rinaldi on May 24, 2022 -
“The Silliest Use of IMAX in the History of IMAX”: DP Larkin Seiple on Everything Everywhere All at Once
“A messy but fun way to make something very stupid but very beautiful.” That’s how cinematographer Larkin Seiple describes the process of creating the multiverse-jumping singularity that is Everything Everywhere All at Once, a mixture of the silly and profound that careens through alternate realities populated with hot dog fingers, butt plugs and raccoon versions of Ratatouille while imploring us to embrace the fleeting moments of grace offered up by the universe in the face of our cosmic insignificance. Michelle Yeoh stars as Evelyn, a harried laundromat owner whose marriage, mother-daughter relationship and IIRS audit all crater simultaneously. Into that personal […]
by Matt Mulcahey on May 23, 2022 -
Dress Codes, EO, Fatigue and Dealmaking: Sarah Winshall’s Cannes Diary #2
I’ve hit the fatigue section of my journey. Time is irrelevant, and I spilled several glasses of water during pitch meetings because my motor skills are suffering. I read back on my last journal, and it seems like a story from a stranger, someone much saner than I. It was probably the Top Gun: Maverick-themed military fly-by that opened this portal to another dimension. Does anyone know if the red white and blue smoke coming out of their engines were supposed to be celebrating France or the USA? 5/19 I woke up feeling weird. I only slept for four hours […]
by Sarah Winshall on May 22, 2022 -
Cannes 2022: Eo, Enys Men
“What if this movie’s just a donkey green screened onto a bunch of Koyaanisqatsi-looking footage?” I joked to a friend as the lights dimmed for Polish master Jerzy Skolimowski’s new film, Eo. It wasn’t, but honestly I wasn’t as far off as I thought. Touted (in the media, at least) as a remake of Robert Bresson’s 1966 classic Au hasard Balthazar, the 84 year-old’s latest offers one of the more radical updates of that film imaginable. Pitched somewhere between sacrilege and tribute (Skolimowski is a notorious Bresson fan, even if his work has rarely shown his influence), Eo is an […]
by Blake Williams on May 21, 2022 -
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
