CANNES 2013
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OMAR
Hany Abu-Assad's (Paradise Now) exhilarating drama about a young Palestinian baker who becomes entangled with freedom fighters in the West Bank. With ethics and loyalty in free fall, the net around Omar tightens to breaking point as Israeli authorities attempt to turn him. Mature work from a must-watch director whose unblinking gaze won't find favour with occupying forces whose brutal methods are not given an easy pass. Not that he takes sides with any character's point of view, his argument is too complicated for that. Sturdy performances from a compelling cast led by the camera-hugging Adam Bakri keep audiences engaged to the bitter, bitter end.
Hany Abu-Assad's (Paradise Now) exhilarating drama about a young Palestinian baker who becomes entangled with freedom fighters in the West Bank. With ethics and loyalty in free fall, the net around Omar tightens to breaking point as Israeli authorities attempt to turn him. Mature work from a must-watch director whose unblinking gaze won't find favour with occupying forces whose brutal methods are not given an easy pass. Not that he takes sides with any character's point of view, his argument is too complicated for that. Sturdy performances from a compelling cast led by the camera-hugging Adam Bakri keep audiences engaged to the bitter, bitter end.
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NEBRASKA
Alexander Payne's (Sideways) startling film caused a critical stir in Cannes, and if the sniffling throughout the screening was anything to go by, caused a run on tissues along the Croisette. A father/son road trip forms the basis of this beautiful, heart-felt story of ageing and familial duty. Woody Grant (Bruce Dern) has dementia and is determined to collect the $1m he's 'won' in an advertising scam. To the shrewish concern of his wife and his put-upon sons, he'll walk the impossible distance to Nebraska to collect the cash if he has to. His son agrees to drive him instead, a decision that sparks family discord and adventure while unlocking some secrets along the way. Shot in black and white with minimal production, Nebraska is an exceptional work notable for a terrific techs, a warm and honest script plus the delightful central performance of Dern. It is unquestionably the finest American film in years.
Alexander Payne's (Sideways) startling film caused a critical stir in Cannes, and if the sniffling throughout the screening was anything to go by, caused a run on tissues along the Croisette. A father/son road trip forms the basis of this beautiful, heart-felt story of ageing and familial duty. Woody Grant (Bruce Dern) has dementia and is determined to collect the $1m he's 'won' in an advertising scam. To the shrewish concern of his wife and his put-upon sons, he'll walk the impossible distance to Nebraska to collect the cash if he has to. His son agrees to drive him instead, a decision that sparks family discord and adventure while unlocking some secrets along the way. Shot in black and white with minimal production, Nebraska is an exceptional work notable for a terrific techs, a warm and honest script plus the delightful central performance of Dern. It is unquestionably the finest American film in years.
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A CASTLE IN ITALY
Valeria Bruni-Tedeschi's meandering comedy sits heavier and flatter than yesterday's crepe as siblings concern themselves with the memory of their troubled, family estate. Louise is a washed up actress struggling to make a new life who hopes an affair with a young actor, also struggling with his career, will make a difference. It doesn't. Her brother Ludovic is struggling with mortality and marries a younger woman in the hope it might also mean change. It doesn't. Meanwhile their Italian mother struggles to make sense of her children and family finances by playing the piano (rather well, as it happens). A film as coherent as that description struggles to find its feet and audience as the cast push the boundaries of reason while the director-leading lady fails to reign them in, despite the deeply personal narrative. File under festival mis-fire.
Valeria Bruni-Tedeschi's meandering comedy sits heavier and flatter than yesterday's crepe as siblings concern themselves with the memory of their troubled, family estate. Louise is a washed up actress struggling to make a new life who hopes an affair with a young actor, also struggling with his career, will make a difference. It doesn't. Her brother Ludovic is struggling with mortality and marries a younger woman in the hope it might also mean change. It doesn't. Meanwhile their Italian mother struggles to make sense of her children and family finances by playing the piano (rather well, as it happens). A film as coherent as that description struggles to find its feet and audience as the cast push the boundaries of reason while the director-leading lady fails to reign them in, despite the deeply personal narrative. File under festival mis-fire.
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BEHIND THE CANDELABRA
Stephen Soderbergh's 'too gay' biopic of Liberace's relationship with the younger Scott Thorson was picked up by HBO and screens here in competition. Michael Douglas lead performance is one of potentially award-winning distinction, with solid support from Matt Damon as a would be veterinarian bedazzled by diamontes. But before you can say tiaras, the tantrums begin and now-junkie Scott finds himself on the ex-shag pile at Liberace's back door. No one is going to threaten maestro or his reputation. Soderbergh's glittering production is proof that this potential swan song (he's stated an intention to take time out) underlines how much Hollywood needs him. This adaptation of Thornson's memoirs oozes wit, charm and dignity (not easy to do in a mirrored g-string) as the central character looses his innocence and in one toe-curling scene, his face, as he works hard for Lee's love. With a couple of notable exceptions, this is a traditionally shot and simply narrated tale of romance, from the first electric look of lust to death-bed reconciliation. Douglas easily captures Liberace's folksy charm, structured generosity, bitchiness and desperation to maintain his public appearance. Believe it or not, his (largely female) fans had no idea the fur clad, peacock was gay. And you should believe it. Look out for a virtually unrecognisable Debbie Reynolds in support.
Stephen Soderbergh's 'too gay' biopic of Liberace's relationship with the younger Scott Thorson was picked up by HBO and screens here in competition. Michael Douglas lead performance is one of potentially award-winning distinction, with solid support from Matt Damon as a would be veterinarian bedazzled by diamontes. But before you can say tiaras, the tantrums begin and now-junkie Scott finds himself on the ex-shag pile at Liberace's back door. No one is going to threaten maestro or his reputation. Soderbergh's glittering production is proof that this potential swan song (he's stated an intention to take time out) underlines how much Hollywood needs him. This adaptation of Thornson's memoirs oozes wit, charm and dignity (not easy to do in a mirrored g-string) as the central character looses his innocence and in one toe-curling scene, his face, as he works hard for Lee's love. With a couple of notable exceptions, this is a traditionally shot and simply narrated tale of romance, from the first electric look of lust to death-bed reconciliation. Douglas easily captures Liberace's folksy charm, structured generosity, bitchiness and desperation to maintain his public appearance. Believe it or not, his (largely female) fans had no idea the fur clad, peacock was gay. And you should believe it. Look out for a virtually unrecognisable Debbie Reynolds in support.
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STRANGER BY THE LAKE
Alain Guiraudie's Queer Palm winner is a scintillating drama about a French gay cruising ground and instant relationships that leads Franck into clear and present danger. Questions arise about easy judgement, self preservation and the lack of concern from cruising regulars, especially when one man is found suspiciously dead and no one seems to notice nor care. The director's forthright approach will land him in trouble with censors, a pity given the provocative material and welcome discussion this compelling film creates.
Alain Guiraudie's Queer Palm winner is a scintillating drama about a French gay cruising ground and instant relationships that leads Franck into clear and present danger. Questions arise about easy judgement, self preservation and the lack of concern from cruising regulars, especially when one man is found suspiciously dead and no one seems to notice nor care. The director's forthright approach will land him in trouble with censors, a pity given the provocative material and welcome discussion this compelling film creates.
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INSIDE LLEWYN DAVIS
The Cohen Brothers (No Country For Old Men) eschew guns and violence for this melancholic comedy about folk music. The titular Davis (Oscar Isaac) can't catch a break or, as a prickly Jean (Carey Mulligan) shouts, he's the King Midas of Shit. Cat motifs abound as the musician's life spirals beyond control on a quest to make it big in a musical genre whose time is quickly passing. You've heard it all before says Llewyn at the film's opening and he's on the money. While the film is solid entertainment, it doesn't find the Cohens on fire as the film seeks to extract pathos and humour in existentialist folk. Mostly it's the desperate sadness of a failed life. As legendary impresario Bud Grossman (F Murray Abraham) puts it, I see no money in this.
The Cohen Brothers (No Country For Old Men) eschew guns and violence for this melancholic comedy about folk music. The titular Davis (Oscar Isaac) can't catch a break or, as a prickly Jean (Carey Mulligan) shouts, he's the King Midas of Shit. Cat motifs abound as the musician's life spirals beyond control on a quest to make it big in a musical genre whose time is quickly passing. You've heard it all before says Llewyn at the film's opening and he's on the money. While the film is solid entertainment, it doesn't find the Cohens on fire as the film seeks to extract pathos and humour in existentialist folk. Mostly it's the desperate sadness of a failed life. As legendary impresario Bud Grossman (F Murray Abraham) puts it, I see no money in this.
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ONLY GOD FORGIVES
This Danish - US - Thai co-pro runs a direct line from both Lynch and Tarantino as it examines Zen and the art of brutality. Ryan Gosling runs a boxing ring in Bangkok, his brother rapes and slays a 16yo hooker then is murdered for his pleasure. Police arrive to clean up the mess as their ice-bitch mother (a formidable Kirsten Scott Thomas) arrives to collect her first born's body and motivate her surviving son in a stream of unrepeatable invective. An extraordinarily sumptuous and dream fuelled first half is replaced by an excessively violent second as director Refn changes gear in pursuit of justice. He keeps dialogue sparse (aside from Thomas's startling tirades) and introduces perhaps cinema's first karaoke singing, blade swinging, vigilante police chief. A dark, brutal and unapologetically self conscious experience that is oddly cathartic for those with a fortified stomach.
This Danish - US - Thai co-pro runs a direct line from both Lynch and Tarantino as it examines Zen and the art of brutality. Ryan Gosling runs a boxing ring in Bangkok, his brother rapes and slays a 16yo hooker then is murdered for his pleasure. Police arrive to clean up the mess as their ice-bitch mother (a formidable Kirsten Scott Thomas) arrives to collect her first born's body and motivate her surviving son in a stream of unrepeatable invective. An extraordinarily sumptuous and dream fuelled first half is replaced by an excessively violent second as director Refn changes gear in pursuit of justice. He keeps dialogue sparse (aside from Thomas's startling tirades) and introduces perhaps cinema's first karaoke singing, blade swinging, vigilante police chief. A dark, brutal and unapologetically self conscious experience that is oddly cathartic for those with a fortified stomach.
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GRISGRIS
In an urban corner of Chad, Grisgris dreams of being a dancer and, considering his wilted leg, he's rather good at it. But when circumstances require an unobtainable injection of cash to save his mother's ailing husband, Grisgris joins a gang of petrol smugglers. A double cross fails, forcing him to flee persecution in a cross country dash with his ex-whore, now pregnant girlfriend to her village. It's certain they won't remain hidden long. Emerging from twenty years of bitter civil war, Chad has found a cultural expression in Mahamat Saleh-Haroun's engaging, if cliché ridden, film, the country's first to reach Cannes. It's an extraordinary achievement, not only for it's non-pro performances (universally good) but also the technical accomplishments of its director. Cast and crew received a deserved standing ovation on entry to the theatre while the lead's impromptu one-legged dance on the red carpet earned a joyous outburst of applause. All of which underlines how much guilt-ridden white people like this kind of stuff, even before they've seen it.
In an urban corner of Chad, Grisgris dreams of being a dancer and, considering his wilted leg, he's rather good at it. But when circumstances require an unobtainable injection of cash to save his mother's ailing husband, Grisgris joins a gang of petrol smugglers. A double cross fails, forcing him to flee persecution in a cross country dash with his ex-whore, now pregnant girlfriend to her village. It's certain they won't remain hidden long. Emerging from twenty years of bitter civil war, Chad has found a cultural expression in Mahamat Saleh-Haroun's engaging, if cliché ridden, film, the country's first to reach Cannes. It's an extraordinary achievement, not only for it's non-pro performances (universally good) but also the technical accomplishments of its director. Cast and crew received a deserved standing ovation on entry to the theatre while the lead's impromptu one-legged dance on the red carpet earned a joyous outburst of applause. All of which underlines how much guilt-ridden white people like this kind of stuff, even before they've seen it.