★★★☆☆ David Cronenberg first made Crimes of the Future in 1972. It was a disturbing account of a plague that killed all sexually mature women. It was transgressive, low-budget, and shocking. Now, with a reputation built over half-a-century of work, Cronenberg has returned to the scene of his Crimes… with an A-list ensemble in tow.
★★★★★ Parents are normal people too. They might not seem it but once you have a kid, you become a care provider, a hotelier, a therapist, a nurse, a taxi driver, a chef and a thousand other things. You become mum or dad and the idea that you too might have a life – an internal life – is something that shrinks, even shrivels.
★★★★★ If there’s one criticism of Ruben Östlund’s Palme d’Or-winning The Square, it’s that his satire wasn’t so much shooting fish in a barrel as nuking a pod of whales in a glass of water. The art world is full of self-obsessed poseurs? You don’t say. His new film, Triangle of Sadness, begins with a series of riffs on how vacuous the world of high fashion is.
★★★★☆ James Gray is one of those American filmmakers who – like Jerry Lewis – enjoys much greater critical acclaim in France than in his home country. Unlike Jerry Lewis, the French have a point. Whether it’s the neo-noir of We Own the Night or the ménage à trois of Two Lovers, Gray has managed to pursue an intensely personal vision through a range of genres.
★★★☆☆ A gauche young man plays guitar and sings a song he wrote to the devoted pleasure of his parents. That was The Squid and the Whale, Noah Baumbach’s 2005 acerbic comedy of family disintegration. Jesse Eisenberg played the young man, while the song was actually by Pink Floyd which the boy was trying to pass off as his own.
★★★☆☆ There’s something fitting about a zombie movie remake. To paraphrase Vic Reeves, “You wouldn’t let it die”. And if you’re going to remake a zombie film, why not pick one of the best of recent years. That seems to be the thinking behind Michel Hazanavicius’ Final Cut, a zom-com that faithfully replays Shinichiro Ueda’s One Cut of the Dead, which made a crimson splash in 2017.
The Croisette is teeming, the red carpet has been unrolled, and the ticket system is up the spout. In other words, Cannes is back. After the Covid-inflected – if not infected – July 2021 version, there is a sense of renewal as the film industry bounces back with the blockbuster delights of Top Gun: Maverick and a familiar roster of auteur talent.
The 7th edition of the Lonely Wolf International Film Festival exhibits sophistication, growth and maturity on both a logistical and thematic front. Behind the scenes, this year the festival has received a record amount of submissions for any one single trimestral virtual event so far, with 737 total audiovisual projects in competition.
★★★★☆ In his third feature, filmmaker Einari Paakkanen turns his attention to the phenomenon of Finnish karaoke and its capacity to bring disparate people together. Karaoke Paradise is a charming, insightful and often moving study of normal people’s lives through the medium of belting out great tunes.