There really is no film-centric event that can compare to the Cannes Film Festival. Part marketplace for movies from around the world, part competition for some of the best filmmakers working today, and overall a fantastic showcase for hidden cinematic treasures for all cinephiles to enjoy. In addition to all that there’s the over-the-top glamour, stars, celebrities and the insanely beautiful setting of the south of France to wrap it all together into one of the most awe-inspiring film festivals in existence. Over the course of my 10 days there, I met a plethora of interesting people while consuming a total of 22 films both in competition, un certain regard and in the marketplace. And trust me when I say that I barely scratched the surface.
While only a few films rubbed me the wrong way (Sleeping Beauty, Michael) the majority seriously impressed my cinematic tastes. There were a few films I wish I had seen, such as the Australian film Snowtown who after Chase Whale (from Gordon and the Whale) introduced me to filmmaker Nash Edgerton and hearing them discuss it, has now rocketed to my must-see list. Yama Rahimi (from ION Cinema) impressed upon me the beauty of filmmaker/actress Nadine Labaki and her new film Where Do We Go Now?, which I also wish I could have seen. Talking to the people you meet in lines at Cannes is in an important way to gauge what’s hot and what’s not. Had it not been for an excellent discussion waiting to see Wu Xia with Drew McWeeny (of Hitfix) I probably would have missed the fantastic Mexican thriller Miss Bala and this is the way the festival works. Below I have listed my recommendations, boiling it down to the top five films from the main competition and a few other recommendations from what was truly a fantastic fest. Then, one can see the rest followed by interviews from the fest. Click on any titles for reviews or the feature.
The Best
Part of the joy in watching Michel Hazanavicius’ The Artist are the subtle details that the filmmaker ensured would recreate the feeling of watching a silent film from the lost era of the origin of cinema. Feeling like a long lost relic unearthed from a time capsule, the film features two delightful performances from Bérénice Bejo and Jean Dujardin (who won the Cannes award for Best Actor) as a pair of actors working in the golden age of cinema. As the advent of sound transforms the landscape of Hollywood, the film serves as interesting allegory for how the increasing dominance of special effects in mainstream movies highlights the constant evolution of cinema. But what makes The Artist a true pleasure to watch is the care and attention Hazanavicius has put into each shot and the effervescent charisma of its two stars.
The Dardenne brothers have become a staple at the Cannes Film Festival, having already won the coveted Palme d’Or twice. Known for their socially conscious and often devastating films, the Belgian duo have made their most accessible film to date about a boy and his bike. Struggling to cope with the fact that his father can no longer afford to raise him, young Cyril, played brilliantly by newcomer Thomas Doret, finds solace with a kind hearted hairdresser Samantha, played by famous French actress Cécile de France. Needless to say the filmmakers have an uncanny ability to strike deep with universal emotions and their films usually resonate long after the credits have rolled. The Kid with a Bike was the only film to make me tear up at Cannes, yet also filled me with hope about humanity.
While the grand jury was moved by Terrence Malick‘s The Tree of Life, the film that had the greatest effect on me plays as an interesting counter point to the metaphysical Palme d’Or winner. Melancholia, or as I lovingly refer to it as The Tree of Lars, is an apocalyptic fairy tale about the inherent human fear of our own mortality. While the sci-fi milieu serves merely as a backdrop for an operatic melodrama about two sisters with two drastically different views on their own finite fate, Von Trier masterfully manipulates the rapturous end of days into hypnotic beauty. Unfortunately overshadowed by the provocateurs comments at the press conference that made him persona no gratis at Cannes, Melancholia is a meditation on the filmmakers own depression that left me utterly breathless.
In Pedro Almodóvar‘s impressive 18th film, the acclaimed Spanish director dives deep into the psychological horror genre with a twisted tale of a plastic surgeon gone mad. Using multiple interweaving relationships between well developed characters, Almodóvar continues to impress with the ease at which he handles intricate plot lines. Featuring fantastic performances by Antonio Banderas and Elena Anaya, the filmmaker has created a thrilling film that not only delivers suspense in spades but also touches on themes of sexuality and identity that distinguish the auteur’s trademark style. The Skin I Live In is a high caliber jolt of entertainment that leaves you questioning the very nature of sexuality and how easily it can be manipulated.
After a seven year hiatus from her last film Morvan Callar, Lynne Ramsay has returned with a ferociously brutal examination of a tormented mother that continues her strong presence as a unique cinematic voice. Starring Tilda Swinton as Eva who after the birth of her son Kevin, can’t get past the abnormal behavior of her first born. With solid supporting performances by John C. Reilly and Ezra Miller, Ramsay creates a visually splendid narrative that delves into a mothers greatest fear. Despite its disturbing subject matter, We Need to Talk About Kevin is a riveting examination of pain and memory that firmly establishes Ramsay as one of the premiere female filmmakers working today.
The Rest
The Honorable Mentions: Pina, Miss Bala, Wu Xia, Le Havre and Once Upon a Time in Anatolia.
The Good: Drive, Poliss, and Restless
The So-So: Hanezu, The Tree of Life, and Arirang
The Bad: Michael, This Must Be The Place, Hara-Kiri: Death of a Samurai, and Sleeping Beauty
The Interviews
The Artist Director Michel Hazanavicius and Star Berenice Bejo
Wu Xia Director Peter Chan and Actor Donnie Yen
Jasmin Prosser, CEO of Studio Beyond
View our complete coverage here (including all Cannes-related news) and we’ll see you next year on the croisette!