Wednesday, 24 May 2017
Despite Indonesia being the fourth most populated country in the world, its cinema has rarely made much of an impact outside its borders, and with Marlina The Murderer In Four Acts by Mouly Surya, which just screened at Director's Fortnight, this is only the third time the country has had a film in Cannes in any strand, and the first in twelve years.
Marlina (Marsha Timothy), a recently widowed woman living in a small house in the arid countryside of Sumba Island, is attacked by a group of men, only for her to take matters in her own hands by killing them all in self-defence. She sets on a journey to the police to report the crime while the rest of the gang goes in her pursuit.
Monday, 22 May 2017
French director André Téchiné was given a tribute at this year's Cannes Film Festival, as part of their 70th birthday celebrations. Most of the legendary actresses he has worked with were present, probably one of the biggest concentration of French acting legends outside the French Film Awards: Catherine Deneuve, Isabelle Huppert, Sandrine Kiberlain, Juliette Binoche... and many more (but no Adjani!), all of them sat on the same row, one of those Cannes moments that makes you want to pinch yourself to check you are not dreaming. The festival also presented the director's new film, Nos Années Folles.
Nos Années Folles is based on a true story, one whose premise is so unlikely that it proves yet again that life is stranger than fiction: World War One deserter Paul (Pierre Deladonchamps, seen in Stranger By The Lake (2013)) goes into hiding in the basement of the house occupied by his wife Louise (Céline Sallette) and her mum rather than face the front once more. Seeing her husband grow restless at his lack of freedom, Louise devises an unlikely plan, dressing up Paul as a woman to allow him to leave the house, an arrangement he is reluctant to accept at first, only to fully embrace it for years to come, even when the war is over and the threat of imprisonment is long gone, having become a celebrity in the process.
South Korean films seems to form the staple of the Midnight Screenings at the Cannes Film Festival, and understandably, considering their directors' mastery of genre cinema, coupled with their formal skills. There has been some fodder over the years though, but not The Villainess, presented this year, oh no, not The Villainess!
In The Villainess, Sook-hee (Kim Ok-Bin) was trained to become an assassin since childhood. She is brought to the attention of South Korea's Intelligence Agency after a particularly bold act of vengeance, and recruited among their black ops all female team of assassins, with the promise to be sent back to civilian life after ten years of service, and of a better life for the daughter she is soon to give birth to. A man from her past reemerges however, and her loyalty is put to the test.
Sunday, 21 May 2017
A sci-fi comedy set in Croydon in the 70's with Nicole Kidman as an ageing punk called Boadicea? When that was announced, I was first in the queue! Then I realised who the director was, and I winced, but kept faith. None of John Cameron Mitchell's films have worked for me, and he often seems to hide his lack of talent between a strong, flashy premise (Hedwig) or graphic scenes (Shortbus).
In How To Talk To Girls At Parties, adapted from a short story by Neil Gaiman, a trio of young punks led by Enn (Alex Sharp) is invited to an afterparty in a house after a concert, populated by strange dwellers whose unusual antics make the boys think they have come across a cult at first. Little do they realise that they are actually aliens, and one of them, Zan (Elle Fanning), wants to break free from her world of conformity, embracing Earth and falling for Enn.
Friday, 19 May 2017
Andrey Zvyagintsev made an impact in Cannes in 2014 with the bombastic, Kafka-esque nightmare Leviathan, and walked away with the award for best screenplay. He is back this year in competition with Loveless (but then you'd expect his new film to be called Loveless).
In Loveless, Zhenya (Maryana Spivak) and Boris (Alexey Rozin) are going through a messy divorce, having both found a new partner already. Their son Alyosha is the last "detail" to be sorted before they can move on with their new lives, but in the midst of a particularly acrimonious fight, he vanishes (not that they even notice at first!).
Wednesday, 17 May 2017
There had been much noise when Cannes regular Arnaud Desplechin was turned down for the official selection in 2015, and ended up at Director's Fortnight, by the same critics who complain that "it's always the same people", proving that Cannes can never do right in the eyes of some. The French director is back in the official selection, but not in competition, his film Ismael's Ghosts opening the festival this year.
Ismael's Ghosts is a tale of two stories, focused on both the artistic and love life of film director Ismael (Matthieu Amalric). His first wife Carlotta (Marion Cotillard) disappeared twenty years ago and is presumed dead. After years of womanising, he meets then marries Sylvia (Charlotte Gainsbourg), only for Carlotta to reappear out of nowhere. We also follow the incredibly erratic shoot of his latest film, an espionage story based on the life of his younger brother, Ivan (Louis Garrel).
Friday, 28 April 2017
Suntan from Greek director Argyris Papadimitropoulos starts out as a portrait of a lonely local doctor unexpectedly drawn out of his shell by a summer romance and ends, brilliantly, as a psychotic character study in the vein of Pablo Larrain’s Tony Manero (2008).
GP Kostis (Makis Papadimitriou) meets hedonistic party girl Anna (Elli Tringou) when she is rushed into his surgery one bright morning after gashing her thigh in a scooter crash. He treats the wound and endures the chaotic joking of her friends good-naturedly. In return, they hail Kostis as “the best doctor in the world” and invite him to join them at the beach. He does and seemingly becomes part of their tribe, going clubbing every night, jeopardising his professional life by staying out late and drinking too much, all the while pining for Anna to the obvious amusement of all.