I typically aim to use this last post as my awards clean-up, wherein I tackle the prize-winning films I didn’t address in my previous dispatches. This year will have to be different, since Spike Lee’s jury trophied many of the films I already found generative enough to have given them space here. Not atypically, though, the panel failed to hand any accolades to the two films that in my opinion were the most laudable among the competition slate—namely, Bruno Dumont’s rapturously off-kilter France, which could have justifiably taken any prize on the menu except Best Actor (although Macron’s unknowing cameo […]

Information, context and mystery have been on my mind quite a bit since seeing the two new films that Thai filmmaker Apichatpong Weerasethakul brought to this year’s Cannes: his feature-length, Tilda Swinton-starring, Colombia-set Memoria, and the 13-minute “Night Colonies,” the segment that concludes The Year of the Everlasting Storm omnibus project, which collects seven short films about creativity in the time of COVID-19 from global arthouse heavyweights such as Jafar Panahi, Dominga Sotomayor and David Lowery. This is partly because Weerasethakul’s new films, like the rest of his cinema, negotiate the divide between our sensory and cognitive functions better than […]

Films in this year’s Cannes (especially the better ones) have been prone to metafiction—demonstrating and examining the process of making movies, creating images, writing and rehearsing scenes, or editing sound, putting the creative process on full display. It’s hardly a new trend in art cinema—make what you know, love and experience, and your livelihood is bound to bleed in some way or another—but self-reflexity is clearly in style, and Miguel Gomes & Maureen Fazendeiro’s structural, faux making-of puzzle film The Tsugua Diaries may be the most exemplary case. True to its title, the diaristic Tsugua fictitiously dramatizes its own production, which disintegrates […]

“I am not really necessarily interested in performance, per se, but in emotion,” Ryûsuke Hamaguchi told Vadim Rizov back in 2019 when asked how meaningful the work of Jacques Rivette was to him. The answer went on to more or less say “not very,” which is even more incredible now that his new three-hour Murakami adaptation, Drive My Car, has landed, so absorbed with the art and nuances of rehearsal and performance that the French New Waver will inevitably be the default assumed touchstone once again. Indeed, Drive My Car is, along with its 40-page source material (found in Murakami’s […]

Dutch director Paul Verhoeven’s “lesbian nun movie” Benedetta may have taken two extra years to land (Verhoeven’s hip surgery in 2019 prevented him from completing post-production in time for that year’s Cannes), but its prologue wastes no time informing the audience of its mischievous timbre (for the handful heading into it expecting anything close to reverence), slipping in flame-farting jesters and a bird (ostensibly possessed by the Virgin Mary) dropping a turd in a bandit’s eye at our young heroine’s request. Adapted from Judith C. Brown’s 1986 book Immodest Acts: The Life of a Lesbian Nun in Renaissance Italy, the […]

Cannes declared itself open for business earlier this week, 2021’s first major international film festival to do so in an entirely physical edition (save the partially-digital market). The irony has not been lost on some attendees that Thierry Fremaux and co. opted to launch its first Un Certain Regard selection in more than two years (the festival’s main opening film, Leos Carax’s Annette, was reviewed by Vadim Rizov earlier this week here) with an epic about a man who continued fighting a war for nearly three decades after it ended. Invisible enemies, lost time and interminable isolation: familiar pandemic phraseology […]

Leos Carax’s Annette begins with a variant on Holy Motors’s “Entrac’te,” now split from one mid-film break into opening and (mid-end-credits) closing musical numbers that set a similarly grimly determined/celebratory tone. The director and his real-life daughter are among the first people seen, leading Sparks and the film’s main cast out of the recording studio and into the world. Adam Driver gets on a motorcycle and zooms into the night to begin his diagetic story proper as confrontational stand-up comic and antihero Henry McHenry, his castmates calling “good luck” after him. A slow-motion love triangle revolves McHenry and the Conductor (Simon Helberg) […]

A larger-than-usual Competition — 24 films — for its 2021 edition was announced today by the Cannes Film Festival, along with the Out of Competition, Un Certain Regard and other titles that comprise (for now) its official selection. Delayed from its usual dates in mid-May to July 6-17, the festival opens with the long-awaited Leos Carax Sparks-scored musical Annette and contains new features by Asghar Farhadi, Mia Hansen-Løve, Jacques Audiard and Nanni Moretti. Cannes also adds this year a new section, Cannes Premieres, containing films by festival veterans such as Oliver Stone, Kornél Mundruczo and Andrea Arnold. Among the American […]

The long-awaited trailer for Leos Carax’s musical Annette — his follow-up to Holy Motors, one of best films of the last decade — has just been posted online. Concurrent with a communique from French President Emmanuel Macron that seems designed to assure anxious international industry about the viability of the upcoming ’21 edition of the Cannes Film Festival, where Annette will be opening night, it’s a particularly impressive publicity drop. The film’s synopsis, from the press release: Los Angeles, today. Henry (Adam Driver) is a stand-up comedian with a fierce sense of humor who falls in love with Ann (Marion […]

For more than 40 years, there was a certainty to the film festival calendar—a comfort in knowing that, since 1978, when the Berlin International Film Festival moved to February, followed by Cannes in May, and Venice in the fall, there were three distinct seasons for producers, sales agents and buyers to meet, see films and make deals. But in 2021, things are different, of course. While the inflection points of the business cycle—winter, summer, fall—remain somewhat in place, the ongoing pandemic has scrambled the dates, formats and plans for hundreds of film events, upending launch strategies and causing potential logjams […]