Julia Ducournau’s serial killer film Titane scoops top award, while best actor and actress go to Caleb Landry Jones and Renate Reinsve
The Palme d’Or, the most prestigious of cinema festival prizes, has gone to Titane, an unconventional and violent film directed by the 37-year-old French director Julia Ducournau.
Continue reading...A group of talented teens push the boundaries of their religious society by putting on a concert in Nabil Ayouch’s earnest film
Franco-Moroccan director Nabil Ayouch has made a likable, high-energy youth movie that could almost be called the Moroccan answer to Fame and which features that time-honoured plot device: putting on a concert.
Using nonprofessionals playing docu-fictionalised versions of themselves, Ayouch has created a drama revolving around an arts centre for young people that he himself helped to set up in the tough district of Sidi Moumen, called by someone here the Bronx of Casablanca. The school includes a special programme called the Positive School of Hip-Hop. A crowd of smart, talented teens join the class and we watch as they find out the challenges, limits and opportunities of learning self-expression through western-style rap in a Muslim society.
Continue reading...Ryûsuke Hamaguchi reaches a new grandeur with this engrossing adaptation about a theatre director grappling with Chekhov and his wife’s infidelity
Ryûsuke Hamaguchi’s mysterious and beautiful new film is inspired by Haruki Murakami’s short story of the same name – and that title, like Murakami’s Norwegian Wood, is designed to tease us with the shiny wistfulness of a Beatles lyric. Hamaguchi’s previous pictures Asako I and II and Wheel of Fortune and Fantasy were about the enigma of identity, the theatrical role play involved in all social interaction and erotic rapture of intimacy. Drive My Car is about all this and more; where once Hamaguchi’s film-making language had seemed to me at the level of jeu d’esprit, now it ascends to something with passion and even a kind of grandeur. It is a film about the link between confession, creativity and sexuality and the unending mystery of other people’s lives and secrets.
Yûsuke (Hidetoshi Nishijima) is a successful actor and theatre director who specialises in experimental multilingual productions with surtitles – he is currently working in Beckett’s Waiting for Godot and is preparing to play the lead in Chekhov’s Uncle Vanya. He has a complex relationship with his wife Oto (Reika Kirishima), a successful writer and TV dramatist who has a habit of murmuring aloud ideas for erotic short stories, trance-like, while she is astride Yûsuke having sex, including a potent vignette about a teenage girl who breaks into the house of the boy with whom she is obsessed.
Continue reading...The Portrait of a Lady on Fire star has made a superbly low-key film about the ill-fated flirtations a teenager and older woman
Noémie Merlant is the French acting star who two years ago helped make Céline Sciamma’s Portrait of a Lady on Fire a colossal critical hit at Cannes. Now she provides one of the festival’s incidental pleasures with her engaging if flawed directorial feature debut, presented here as a special screening. She has written it with her co-star, the emerging Romany actor Gimi-Nicolae Novaci, whom she discovered and cast as a nonprofessional in Shakira, the short film she directed in 2019 about gypsy communities in Paris. There is a definite screen chemistry between them here, and at times Mi Iubita (Romany for “my love”) Mon Amour almost comes across like a straight Call Me By Your Name.
Related: The Souvenir Part II review – a flood of austere sunlight in Joanna Hogg’s superb sequel
Continue reading...Plot holes trip up the Iranian director’s drama of a slippery man’s desperate efforts to trick his way out of debtors’ prison
Asghar Farhadi has made a tangled film about the tangled web we weave when first we practise to deceive, in that calmly observant, realist yet information-withholding style with which this director made his name. In way, A Hero is a slice-of-life story, in which the “i”s and the “t”s are not necessarily dotted and crossed like a regular screenplay; it has the unsatisfactory, unclear messiness that real life has. There is plenty of interest here - and yet I have to admit to slight reservations about the melodramatic contrivances, which stretch credulity a little.
A Hero is a film that works because of a clever and subtle performance from Amir Jadidi as Rahim, a divorced father who has just been released from jail on a two-day parole, having been imprisoned for debt. He is a man with a bright yet strange, desperate smile, like one of the poor relations in Dickens. He is looking forward to being reunited with his girlfriend, his supportive sister and his beloved son – a gentle, sensitive boy with a speech impediment. Rahim is a man who believes that some sort of charming niceness might still get him get out of a jam. But he has a very specific plan for cancelling his prison sentence. His girlfriend has found a handbag in the street containing what appear to be gold coins: if they could sell them to a gold dealer, might that not raise enough for a deposit to persuade his creditor to forgive the debt?
Continue reading...A lovelorn woman lies in a Paris hospital as violent protests rage on the streets. It’s all very symbolic … but is it any good?
The fracture of the title is, ostensibly, the nasty broken arm suffered by ditsy lead character Raf (Valeria Bruni-Tedeschi), a comic-book artist in Paris who slips and falls over having had a traumatic and possibly metaphorical breakup with her partner Julie (Marina Foïs). But there is another metaphor level to come.
Related: Stillwater review – fictionalised Amanda Knox drama is so bad it’s bad
Continue reading...Emmanuel Carrère’s drama – based on Florence Aubenas’s bestseller Le Quai de Ouistreham – fails to probe fully the injustices faced by low-paid workers
Novelist and film-maker Emmanuel Carrère has contrived this earnestly intentioned but naive and supercilious drama about poverty and the gig economy, starring a tearful Juliette Binoche. It is adapted from the French non-fiction bestseller Le Quai de Ouistreham from 2010 by investigative journalist Florence Aubenas, published in the UK under the title The Night Cleaner.
In it, Aubenas describes her experiences “going undercover” and working in the brutal world of cleaning in Caen in northern France, where desperate applicants have to burnish their CVs with fatuous assurances about how passionate they are about cleaning, in return for dehumanising work with pitiful pay, grisly conditions and no job security. The grimmest part of the work is scrubbing lavatories and cleaning cabins on the ferry between Ouistreham and Portsmouth. The book is in the undercover tradition of George Orwell’s Down and Out in Paris and London, Barbara Ehrenreich’s Nickel and Dimed and Polly Toynbee’s Hard Work: Life in Low-Pay Britain.
Perhaps what might have been valuable would have been a documentary fronted by Aubenas herself, about what has and hasn’t been achieved for gig workers in France since her book came out – or, arguably, a Loachian fiction based on the real lives of these workers. What Carrère has done is create a drama in which it is the fictionalised Aubenas who is the centre of an imagined gallery of toughly courageous workers – her new best friends. The real dramatic crisis comes with Aubenas’s awful dilemma when she has to confess to them she has been fibbing all this time, and using their lives as raw material for her book, which she will write as soon as she returns to her wealthy and fashionable life in Paris. Some of her soon-to-be-jettisoned pals will forgive her when they see how important her book is. Some may not.
The director has spoken about race at the Cannes film festival, where he is the first black president of the Palme d’Or jury
Spike Lee commented on the US’s current racial justice crisis in typically forthright fashion at the Cannes film festival on Tuesday, saying he hoped the time had come that “black people will stop being hunted down like animals”.
Lee, who is the president of the jury that will pick the winner of the Cannes Palme d’Or, was speaking at the jury’s press conference on the first day of the festival. Having been asked a question about his 1989 film Do the Right Thing, which contains a scene in which a black youth, Radio Raheem, is killed by police, Lee responded: “I wrote it in 1988. When you see brother Eric Garner, when you see king George Floyd murdered, lynched, I think of Radio Raheem; and you would think and hope that 30 motherfucking years later, that black people stop being hunted down like animals.”
Continue reading...Driven by a ‘groundswell’ of young devotees and fortysomething nostalgia, a series of events is celebrating the youth movement
It is perhaps one of the most ignored subcultures in modern British history, but rave music and the free party movement of the early 90s is coming back into focus.
Over the next few months, a series of films, exhibitions, memoirs and podcasts will reappraise free parties and the crackdown on them by John Major’s government, as well as their modern echoes.
Continue reading...The punky master of outsider art was once a pariah, thrown out of Britain for his anarchist ways. Now, he’s a national treasure. Joe Rush relives 40 years of sticking it to the ‘straight world’
“They thought we were terrorists,” says Joe Rush, remembering the day not long after the fall of the Berlin Wall when he and a fellow anarchist took over a patch of no man’s land at the heart of the German capital. They filled it with military hardware: tanks and artillery and the like – along with a MiG-21 fighter jet that they pointed directly at the nearby Reichstag.
“The authorities were furious,” he says. And no wonder. The police feared that, just as the cold war was ending, another military face-off had begun. “They thought we were going to fire missiles into the Reichstag,” says Rush. “So we pointed the MiG into the ground to make it clear we weren’t.”
Continue reading...At a Tribeca film festival event, the director and his star Robert De Niro discussed the legacy of the greatest boxing movie ever made
In Martin Scorsese’s 1980 magnum opus, Raging Bull, the self-destructive boxer Jake LaMotta goes from the greatest to a washed-up parody of himself, clinging to his memories of the good ol’ days. For the director and star Robert De Niro, looking back on the film from the present day could have been tempting fate, a couple of ageing men reminiscing about their younger years via a movie illustrating the hazards of just that.
At this year’s closing night for De Niro’s own Tribeca film festival, during an hour-long pre-recorded conversation that preceded the evening’s screening, there was a slight hint of the rueful in the way he and dear pal “Marty” discussed the experience with emcee Leonardo DiCaprio. “Our way of making movies went down,” Scorsese proclaimed, citing the massive financial failure of the pricy Heaven’s Gate that same year as a sign that the party was over for creative talents in search of studio carte blanche. “The kind of thing we were doing was too much trouble for, ah, what they would reap from it.” De Niro clarified: “Money.”
Continue reading...How did a little girl who loved Westerns grow up into an icon of queer cinema? As she wins a Teddy award, the filmmaker talks about a life devoted to the movies
When Jenni Olson accepts the Berlin film festival’s coveted Teddy award this month – for “embodying, living and creating queer culture” – she will join the ranks of past recipients including John Hurt, Joe Dallesandro and Tilda Swinton. “Me and Tilda, you know?” laughs the 58-year-old as she winces in the morning sunlight which is streaming into her home in Berkeley, California. With her youthful features, crisply side-parted hair and apostrophe-shaped eyes, she might have been drawn by Charles M Schulz.
“When I started my little gay film series at the University of Minnesota in 1987,” she says, “I never could’ve imagined that one of the largest film festivals in the world would recognise my work.” Along the way, she has been co-director of the San Francisco international lesbian and gay film festival as well as an influential curator, critic and archivist. She has taken her compilations of film trailers – including Homo Promo, Jodie Promo (Foster, that is) and the Jewish-themed Trailers Schmailers – to festivals around the world. Her vast collection of LGBT-themed film prints, along with the promotional materials that featured in her near-exhaustive collection The Queer Movie Poster Book, was acquired by Harvard last summer.
Continue reading...CEO calls on Scottish ministers to replace 2-metre rule with 1 metre to secure future of world’s largest arts festival
The survival of the Edinburgh festival fringe is at stake unless social distancing rules for venues are relaxed within a fortnight, its organiser has said.
Shona McCarthy, the chief executive of the Edinburgh Festival Fringe Society, called on ministers to replace the 2-metre rule with the 1-metre distance used in hospitality in order to help secure the future of the world’s largest arts festival.
Continue reading...Ahead of a livestreamed version of the festival, here are some of the biggest and best performances from years gone by
Continue reading...What would it have been like to be inside the Big Bang? We meet the ultra-hi-tech art duo who are using light, sound and sub-atomic astro data to recreate the biggest explosion ever
‘Step into the heart of the Big Bang,” says the advert for Halo, a walk-in, 360-degree, audiovisual installation about to open in Brighton. Come off it, I want to retort. You couldn’t “step” into the Big Bang without first travelling 13.8 billion years back in time and then being extremely miniaturised. After all, the universe was, according to one estimate, just 17cm in diameter at its inception.
What’s more, it was dark inside the Big Bang. In fact, there was no light at all. True, if you stuck around for 380,000 years, according to Nasa, you might have been able to see something because that was when free electrons met up with nuclei and created neutral atoms that would have allowed light to pass through. But who has 380,000 years to hang around waiting in the dark?
Continue reading...The violence in Gaza and Jerusalem has made the conclusion to the Muslim holy month a somber event for many
The sound of the call to prayer resonated through Astoria Park in Queens, New York, on an Eid that saw sunny weather and an opportunity for human connection after a year spent apart during the pandemic.
The conclusion to the Muslim holy month of Ramadan is usually marked with a celebratory breakfast, new clothes, and a chorus of “Eid Mubaraks” and “Alhamdulillahs.”
Continue reading...Around the world, Eid al-Fitr celebrations have been taking place in another unprecedented year. With the uneven distribution of Covid-19 vaccines, Muslims in countries like the US and UK have been able to gather en masse for the first time in over a year and celebrate the end of Ramadan. Meanwhile, across Asia, some ceremonies have been more muted and somber, as families continue to lose members to the virus.
Adding to the complex emotions amid this year’s celebration, Muslim communities have been demonstrating solidarity with those affected by the crisis in Gaza, where Israeli strikes have killed dozens of people, including many children. As millions share traditional feasts after a month of fasting, Eid will continue through the evening, and often through the week
Three teams of four puppeteers will accompany Little Amal from Turkey to Manchester to celebrate refugees
A giant puppet of a nine-year-old Syrian refugee girl is to “walk” from Turkey to the UK through villages, towns and cities for one of the most ambitious and complex public artworks ever attempted.
The Walk project was meant to have taken place between April and July but was delayed by the pandemic. Now the 5,000 mile (8,000km) journey of Little Amal, from Gaziantep, near the Turkish-Syrian border, to Manchester, will take place over 12 weeks from 27 July.
Continue reading...Rita Ora is among the performers at the 43rd annual parade, held at the Sydney Cricket Ground
Continue reading...Brown, a noted Covid sceptic, has withdrawn from the Neighbourhood Weekender festival in Warrington in September
Ian Brown has pulled out of headlining the Neighbourhood Weekender festival in Warrington this September after claiming that all attendees require proof of vaccination.
Brown is a noted Covid sceptic, frequently using his Twitter account to spread disinformation about the virus and protections against it. “I refuse to accept vaccination proof as condition of entry,” he tweeted yesterday.
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