mon 10/08/2020

Cannes

Young Ahmed review - jihadist drama misses the mark

Belgian filmmaking duo the Dardenne Brothers have long been darlings of Cannes Film Festival, winning awards for hardhitting dramas like La Promesse, Le Silence de Lorna and The Kid with the Bike. Their latest offering Young Ahmed is no different, a...

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Women Make Film: Part Two review - two steps forward, one step back

The second half of Mark Cousins’ documentary on films by women filmmakers starts with religion; it ends with song and dance. This is a second seven-hour journey through cinema. It reconfirms Women Make Film as a remarkable feat of excavation and...

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And Then We Danced review - glorious Georgian gay coming-of-age tale

The final sequence of Levan Akin’s coming-of-age drama And Then We Danced is as gloriously defiant a piece of dance action as anything you’ll remember falling for in Billy Elliot. Merab, the film’s youthful dancer protagonist (played by Levan...

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Cannes 2019: Matthias & Maxime review - a gently charming new drama

It has been ten years since Canadian auteur Xavier Dolan first debuted I Killed My Mother at the Cannes Film Festival. A decade on he returns in competition with a title that shows an evolution of his filmmaking that leaves behind many of the...

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Cannes 2019: Parasite review - hilarious and horrifying

Like Snowpiercer before it, Bong Joon-ho’s rage-fuelled satire Parasite puts class inequality squarely in its sights. This time however, the story is grounded in the real world and concerns a family of hustlers who will do anything to get by. ...

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Cannes 2019: Once Upon a Time... In Hollywood review - sun-soaked black comedy

Moments before Quentin Tarantino’s blistering, outrageous work screened at Cannes, a message was delivered on behalf of the director, asking reviewers to avoid spoilers. It’s easy to see why. There’s a lot of pleasure in the film’s initial shock...

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Cannes 2019: Diego Maradona review - entertaining but skin-deep

Director Asif Kapadia's documentary on the controversial 1980s sporting legend Diego Maradona premiered at Cannes this week, and there's something unsatisfying about the fact it doesn't have a one-word title. It would have created a neat...

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Cannes 2019: Too Old to Die Young - nightmarish LA noir

This year, Cannes has been adamantly defending traditional cinema, with more than a few jibes at Netflix (who remain persona non grata at the festival), but that hasn’t stopped them screening two episodes of Nicolas Winding Refn’s new Amazon TV...

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Cannes 2019: Week One - a genre-heavy opening

Every year the Cannes Film Festival is a swirl of chaos, excitement, and controversy. Last year, the festival had a markedly different feel. Gone were the big starry names. Replacing them were less glitzy films that were given a chance to shine....

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Cannes 2019: Sorry We Missed You review - essential Loach drama

Who would have thought that Ken Loach could make a film more heart-wrenching than I, Daniel Blake? His new feature, co-written with his long-standing collaborator Paul Laverty, is a raw, angry and utterly uncompromising drama, showing that, for all...

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Cannes 2019: The Dead Don't Die review - festival opens with rich zombie satire

“The world is perfect. Appreciate the details” says a WU-PS driver played by RZA, in Jim Jarmusch’s gleefully meta zombie-comedy that has just opened the Cannes Film Festival. It’s good advice. Jarmusch’s latest work is a finely tuned, deadpan...

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DVD/Blu-ray: The Wild Pear Tree

Turkish director Nuri Bilge Ceylan has been a Cannes regular for almost two decades now, and one of the festival’s more frequent prize-winners: over his career he has come away with two Grand Prix (for 2003’s Distant and 2011’s Once Upon a Time in...

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