Cannes Film Festival 2019: Official Competition Selection

Cannes 2019 PosterA day ago the Cannes Film Festival unveiled its Official Competition selection, and I thought I would comment on some films that were selected to compete in the main category. I will comment on roughly half of them – nine out of nineteen, and that does not mean that others are not great or will not win and become big, and I am merely guided by my own personal interests. The first thought is that I am impressed that the selection is varied (a comedy, a science-fiction film, a war movie, a period drama and a psychological thriller are all competing alongside other drama films), and I am also pleased to see Pedro Almódovar, Terrence Malick, Ken Loach, Dardenne Brothers and Xavier Dolan competing in the same category. The expected name of Quentin Tarantino and his film Once Upon a Time in Hollywood was not announced because the film is still, apparently, being edited. The films below are listed in no particular order.

I. Pain & Glory by Pedro AlmodóvarPain and Glory Poster

This film by Almodóvar stars Penélope Cruz and Antonio Banderas, and is about a film director who “reflects on the choices he’s made in life as past and present come crashing down around him” (IMDb). I love Almodóvar, but he has not been too even in quality regarding his latest films – though I thought The Skin I Live In (2011) was great, his film I’m So Excited! (2013) was misguided. It is nice to see Almodóvar pairing again with his muse – Penélope Cruz, and something tells me this movie could be good since the director again is in the territory of drama. The trailer certainly looks both artful and moving, and perhaps comparisons will be drawn with Federico Fellini’s 8/12 (1963). 

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“Joker” Trailer

“Antiviral” Review

anti viral posterAntiviral (2012) 

In 2012, a science-fiction film titled Antiviral hit both the Cannes Film Festival and the Toronto Film Festival, and what everybody talked about was that this film is from David Cronenberg’s son – Brandon Cronenberg. People started to look for similarities between Antiviral and David Cronenberg’s films and trademarks, and they found plenty of those. One of the points of this review is that Antiviral is an impressive film debut from Brandon Cronenberg, irrespective of his link to his famous father. That film and that director should be recognised in their own right. Antiviral is not a perfect film, but it has many interesting ideas and a good execution. It also has a feel different from David Cronenberg’s filmography. In Antiviral, Syd March (Caleb Landry Jones, Three Billboards Outside Ebbing, Missouri (2017)) is an employee of Lucas Clinic, a place where the dream of obsessed fans to be closer to their celebrities may be realised by injecting them with a live virus from one of the sick big celebrities. This way, customers will experience a one-of-a-kind union with their idols. One such celebrity which has a link to the clinic is beautiful Hannah Geist (Sarah Gadon (Indignation (2016)). When Hannah falls ill after a trip to China, Syd flouts company regulations and becomes a host to her virus, not even realising that Hannah is on the brink of death.  Read more of this post

“Everybody Knows” Mini-Review

todos lo saben poster Everybody Knows (Todos lo saben) (2018)   

This mystery-thriller comes from the acclaimed director Asghar Farhadi (The Salesman (2016)), and stars such big-time actors as Penelope Cruz (Volver (2006)), Javier Bardem (Mother! (2017)) and Ricardo Darin (The Secret in Their Eyes (2009)). It seems therefore like this film can do no wrong, but, unfortunately, much does not go well in this latest by Farhadi. In this story, Laura (Cruz) travels from Argentina to Spain with her two children to attend her sister’s wedding. She arrives to a quiet Spanish village of her childhood and is happy to strengthen relationship with her large extended family. However, when Laura’s teenage daughter gets kidnapped, familial secrets come dangerously close to being revealed, and the pool of suspects thins to point to some family members. In Everybody Knows, the lead actors’ performances cannot be faulted, and the film has this one-of-a-kind ambiance of traditional rural Spain. The director also admirably tries to explore some curious familial situations. However, the problem with this film is that it does not become a clever mystery-thriller with tension surrounding the kidnapping and some twists to come. Instead, overlong Everybody Knows is all about tedious melodramatic scenes, with the feeling left that the script could have been considered for some local TV series. Even more unfortunately, what “everybody knows” in the story or the big reveal could easily be guessed in the first half of this well-meaning “mystery” movie.  Read more of this post

My 5 Favourite Films of 2018

This is my list of five favourite films of 2018, and most of those below I also consider to be the best films of 2018. Please note that I have not yet seen Alfonso Cuarón’s “Roma”, Nadine Labaki’s “Capernaum” or Peter Farrelly’s “Green Book”. There is a big chance I would have equally enjoyed either or all of them.  

the favourite posterI. The Favourite (2018)

Yorgos Lanthimos (“The Lobster” (2015), “The Killing of A Sacred Deer” (2017)) is one director who does not shy away from shocking film displays or enigmatic and displeasing film content. This time he is not a screenwriter and is rendering a period drama in his own style. “The Favourite“, which was nominated for 10 Academy Awards, subverts one’s expectations about what a period drama should be, while it also makes one think deeply about the kind of characters that could exist in the world governed through ruthless power and self-interest. The unbelievably powerful performances from three leading ladies (Colman, Weisz and Stone) ensure the film’s high quality, while its unusual, curious camerawork has all the trademarks of its experimentally-minded director. Everything revolves around Queen Anne (Colman) here, and the story just loves to ridicule the excesses and extravagance of the royal court, as well as the fierce competition for one kind of “power” among the ladies closest to the Queen. The film works brilliantly as this exaggerated satire, which sometimes slides into deliciously-morbid and fascinatingly-obsessive character portrayals. I would have preferred the ending to be clearer in its message, but otherwise this film was just great as it is. My score: 9/10   Read more of this post

Late Afternoon: Oscar-nominated Short Animation

Late Afternoon” by Louise Bagnall is this year’s Academy Awards nominee in the category of “Best Short Animation”. I somehow prefer it over other nominees, and the frontrunners for the award are considered to be Pixar-produced animation “Bao” and Pixar-related short “Weekends“. Other nominees are touching “One Small Step” and the hilarious and witty “Animal Behaviour“. Normally I enjoy intricate, detailed animations, but, in the case of “Late Afternoon“, I somehow appreciate the simplicity and like how the animation incorporates the concept of memory. Have you watched this year’s nominees yet? Do you have a favourite?

“The Wife” Review

the wife poster The Wife (2018)

There is a saying that behind every successful man there is a woman, and “The Wife” exemplifies this saying like no other film. More often than not, society concerns itself with appearances, and people often only see what the façade presents – be it in relation to a relationship or a family. What is going on behind closed doors or what people may feel inside may be another matter altogether. “The Wife” is just that thought-provoking film that deals with this and other issues. Based on a novel of the same name by Meg Wolitzer, the movie is about a married couple Joe and Joan Castleman (Jonathan Pryce and Glenn Close) who receive rather exciting news – Joe is to be given a Nobel Prize for Literature. The duo, together with their son David, travel to Stockholm to receive this honour, and while there, both Jo and Joan experience a crisis of faith, and one big secret of their lives comes dangerously close to being unravelled. The film has its faults, but Glenn Close’s performance ensures that the film is sincere and convincing. If the first part of the film is this slightly mysterious story of whether there is something wrong in the happy marriage and the professional lives of Joe and Joan, than the second half is all about unsaid things emerging and letting themselves be known.

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