Cannes 2022: Brother and Sister, Pamfir, R.M.N.
Arnaud Desplechin’s Brother and Sister ended to the audible reception of somewhere around seven boos, two derisive whistles and nothing else; if you’re someone who believes indifference is a worse reaction than active hostility, this somehow seemed to split the worst possible difference. Consensus holds, not inaccurately, that Desplechin’s peak work is, at least for now, behind him, with the arguable exception of My Golden Days—non-coincidentally, a prequel to 1996’s My Sex Life. His experiments outside of erratic interpersonal dramas, like 2011’s self-explanatorily titled Jimmy P.: Psychotherapy of a Plains Indian and 2019’s crime drama Oh Mercy!, have been received with tepid bewilderment. I have more sympathy for these […]
by Vadim Rizov on May 22, 2022
