CineVue

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Festivals

Cannes 2022: Ruben Östlund wins second Palme d’Or

Cannes’ 75th edition came to a close with a Palme d’Or for Ruben Östlund’s Triangle of Sadness. It was a fittingly ironic moment for the wealthy, star-studded audience to applaud a satire that eviscerates the wealthy and celebrity-obsessed upper-classes. It was Östlund’s second Palme d’Or and, although well-deserved, felt symptomatic of a festival which was fine at best.

Cannes 2022: Close review

★★★★★ Léo (Eden Dambrine) and Remi (Gustav De Waele) are best friends. At 13, they are intelligent and autonomous enough to be allowed a certain freedom, but still full of the childish and spontaneous joy of being and imagining. They pretend villains are attacking the castle, run through the flower fields, and have so many sleepovers together that Leo’s mum wonders aloud if he’ll ever come home.

Cannes 2022: Broker review

★★★☆☆ “Family isn’t a word…it’s a sentence”. So ran the tagline to The Royal Tenenbaums. For Hirokazu Kore-eda it could be argued that it’s a whole career. From Still Walking to the Palme d’Or-winning Shoplifters, the Japanese auteur has spent the greater part of his career delineating the lines of attraction and repulsion, the dynamics of duty and care that make up families – both real and alternative.

Cannes 2022: Tori and Lokita review

★★☆☆☆ We all have directors that we don’t seem to get on with. We might admire their technical prowess or their commitment, but for some reason we just don’t click. For this critic, that’s the Dardenne brothers – Jean-Pierre and Luc – the Belgian filmmaking team that have brought a series of what are widely considered modern classics.

Cannes 2022: Showing Up review

★★★★☆ If there has been a characteristic that sums up this 75th edition of Cannes, it has been that the festival has been small. Partly because of Covid still affecting the way films are produced – yachts seem to be half-staffed and worlds depopulated: cinema downsized. So it is fitting that one of the last films to screen in the competition is Kelly Reichardt’s determinedly minimalistic Showing Up.

Cannes 2022: Corsage review

★★★★☆ Royalty. Can’t live with them. Can’t stop making films about them. If it isn’t The Queen or the Netflix series The Crown, it’s Spencer. And now Marie Kreutzer’s new film Corsage puts on the crown with a spirited and witty take on Empress Elisabeth of Austria – better known in Europe as Sissi.

Cannes 2022: Final Cut review

★★★☆☆ 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.

Cannes 2022: Our picks of the festival

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.

Lonely Wolf Film Festival 2022: Programme announced

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.