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Cannes Film Festival 2022

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    film123
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    #1204962941

    Definitely a polarizing film, with several critics even disagreeing over which parts (the fantastical or the more grounded) they thought worked better, while another faction just gave it tons o’ love. From all descriptions, it’s absolutely a Miller pet project, for good and for ill, that got off the ground only b/c he cashed in his “Fury Road” chips before diving into the obligatory sequel.

    Stop talking like this.

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    The Way of The Wind
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    #1204963132

    Decision to Leave
    Holy Spider
    Crimes of the Future
    Triangle of Sadness

    Soooo looking forward to see these gems

    2023 Oscar
    Best Picture: The Way of The Wind
    Best Director: Decision to Leave
    Best Actress: TAR
    Best Actor: The Whale
    Best Supporting Actress: The Whale
    Best Supporting Actor: Poor Things

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    AMG
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    #1204963187

    Leila’s Brothers First Reactions

    Matteu Maestracci: after “The Law of Tehran”, Saeed Roustayi confirms his immense talent with a “simple” story of family, money and reputation which becomes an ancient tragedy, tender and virulent, and an epic soap opera of 2h45 . Extraordinary actors.

    Lisa Nesselson: Excellent performances and increasingly harrowing stakes make this Cannes Competition title gripping entertainment.

    Guillaume de Seille: Horrible, poorly written and acted television, Saeed Roustaee’s Leïla’s Brothers would be at home on an Iranian geoblocked streaming platform in 3 or 4 episodes but it is part of Cannes 2022 competition…

    Felix Haus: Yeah, not bad Leila’s brothers. It is perfectly carried by its actors, it is correctly staged. But let’s be honest, what does it say?

    Christer Emanuelsson: Leila’s Brothers wasn’t very cinematic either. The story of a family with economical problems feels like it want to achieve something like sieranevada, but without the aesthetics. It picks up slightly during a wedding sequence, but still a chore to go through.

    Peter Debruge: Dense with overlapping dialogue, suffocating social situations and shifting point-of-view, Roustaee’s style is a stark departure from the straightforward, focused Iranian movies that have found their way into the world so far

    Jordan Mintzer: A sprawling, passionately performed social drama. One could argue that it’s all too much to handle, and there are certain moments when the drama staggers into full-blown melodrama.

    Peter Bradshaw: Saeed Roustayi delivers a big, absorbing, character-driven family drama in the Italian-American style with fierce performances, a huge set-piece wedding scene and touches of Visconti’s Rocco and His Brothers and Coppola’s The Godfather.

    The Oscar Expert: LEILA’S BROTHERS is one of the best in competition. An extremely well-acted, morally complex, sprawling tale of economic hardship and generational wealth.

    Julien Lada: What a mess LEILA’S BROTHERS is. A 2h45 block of shouting matches, shenanigans, stabbings in the back. It’s Succession at Scola, it’s visually quite ugly, it’s probably too long and it repeats itself a bit, but there’s a crazy energy in there.

    Vanessa Bonet: After a bit of a slow start, Leila’s Brothers gains momentum as Roustaee unfolds its staging. He invites us into the heart of a family torn apart by crisis and lack of money. A beautiful picture of Iranian society today.

    Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)

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    AMG
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    #1204963198

    Updated Screen Jury Ratings

    Decision To Leave = 3.2
    Armageddon Time = 2.8
    Nostalgia = 2.7
    Eo = 2.7
    Crimes of the Future = 2.6
    Triangle of Sadness = 2.5
    RMN = 2.5
    Tori & Lokita = 2.5
    Boy From Heaven = 2.3
    Tchaikovsky’s Wife = 2.3
    Holy Spider = 2.0
    The Eight Mountains = 2.0
    Brother & Sister = 2.0
    Forever Young = 1.8

    Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)

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    Go Yeoh!
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    #1204963267

    Leila’s Brothers has such polarizing reviews! I can though see it winning one of the awards, even Palme O Dor I guess

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    Go Yeoh!
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    #1204963276

    The premise and reactions to the film has be hyped!

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    CarlosEdu
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    #1204963340

    These reactions to Leila’s Brothers are strange but it seems that could win some award, even the Palme D’or.

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    AMG
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    #1204963467

    Elvis First Reactions (Out Of Competition)

    Jordan Farley: Elvis has the subtlety of a rhinestone jumpsuit but Baz Luhrmann is a perfect match for the greatest showman, and Austin Butler is a serious awards contender.

    David Rooney: Your enjoyment of Baz Luhrmann’s ELVIS will depend on your appetite for Bazamataz, which is dialed up to explosive levels here.

    Steve Pond: Baz Luhrmann’s Elvis is a spirited homage to the iconic artist, but the film also gleefully distorts Elvis’ life and career.

    Gregory Ellwood: Austin Butler is phenomenal in Elvis. The musical numbers are often spectacular. The Tom Parker stuff? Not so much.

    Rafael Motamayor: Elvis absolutely rules! A movie all about excess, from its runtime, to its costuming and production design, to the song numbers, to Baz Luhrmann pulling an Ang Lee’s Hulk and using comicbook panels throughout the film for great effect. Austin Butler is incredible.

    Jacqueline Coley: Y’all gon say have alot about ELVIS but I dare anyone to say AUSTIN BUTLER didn’t murder every frame. Arguably the most recognizable performer on on earth and he killed it. Voice? Swagger? Sex Appeal? He did that.

    Donald Clarke: Luhrmann’s diverting ELVIS!!! (my exclamation points) may be his least irritating film since MOULIN ROUGE! But it hurts that the director is already figuratively in Vegas from the first scene. Hanks part Hank Quinlan, part slag heap. Butler grand in a big shadow.

    Anne Thompson: Liking Elvis depends on how much you like musical Baz Luhrmann, who throws himself headlong at Elvis in three acts: rocker, movie star, Vegas king. Austin Butler is a star. Tom Hanks as Svengali Colonel Parker will be divisive. Not a critics pic. Nor was Bohemian Rhapsody.

    Ella Kemp: that’s a whooooole lot of movie and I had a very good time with most of it! Really takes his “wiggle” seriously and literally (craziest edit ever) but god, Austin Butler sells it. Baz Luhrmann crazy tragic romantic as ever, never change

    Clayton Davis: Austin Butler channels the very essence and soul of Elvis  in Baz Luhrmann’s stylistic take on the icon’s life. The movie is at its best when focused on the love and the music. Baz gives Priscilla and Lisa Marie a goodbye to their King. Tom Hanks’ makeup distracts

    Kyle Buchanan: Baz Luhrmann’s ELVIS is… *exactly* what you expect Baz Luhrmann’s ELVIS to be. Overcranked, glittery, silly, fun, ridiculous… sometimes all of those within the same five seconds! The only variables are lead actor Austin Butler (better than expected) and Tom Hanks (much worse!)

    Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)

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    alex
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    #1204963577

    please could you make a summary for stars at noon tooo @amg appreciate your work so much

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    braydenfitzsimmons
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    #1204963732

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    CarlosEdu
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    #1204963751

    These reactions to Stars at Noon 💀

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    veronikavoss
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    #1204963839

    These reactions to Leila’s Brothers are strange but it seems that could win some award, even the Palme D’or.

    Seems like the Jury is gonna have to go for some films that divide people a bit, given the consistency of the slate so far. But I agree, especially with President Lindon loving the director and Farhadi having worked closely with some of its stars, hard to imagine this one goes empty handed. Probably not the Palme (Grand Prix at best), but maybe Actress or Screenplay.

    We’ll see if “Broker” or “Close” can deliver on some pre-premiere buzz, and I’m very curious about “Pacification.” I think “Eo” and “Forever Young” (Les Amandiers) are strong contenders for some kind of prize in addition to “Leila’s Brothers,” with strong chances of some kind of mention for Cronenberg, Dardennes, Mungiu, Park, and Serebrennikov. So no shortage of potential prize possibilities, even for a competition year that seems more slight than usual.

    I have a bad feeling “Decision to Leave” could be left out in favor of another Korean-language film in “Broker” and genre-heavier “Crimes of the Future” stealing its thunder.

    I could see it breaking down something like:
    Palme d’Or – “Close” by Lukas Dhont
    Grand Prix – “Eo” by Jerzy Skolimowski
    Director – David Cronenberg, “Crimes of the Future
    Jury Prize – “RMN” by Cristian Mungiu // “Tori and Lokita” by Jean-Pierre Dardenne & Luc Dardenne [tie]
    Screenplay – “Forever Young” by Valeria Bruni Tedeschi
    Actress – Taraneh Alidoosti, “Leila’s Brothers
    Actor – Song Kang-ho, “Broker

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    AMG
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    #1204964065

    Stars At Noon First Reactions

    David Ehrlich: big yes. Claire Denis riffing on “The Year of Living Dangerously” with a little “Groundhog Day” thrown in for good measure. there’s a dance scene to rival the one from “35 Shots of Rum,” and Qualley is a revelation.

    Luke Hearfield: Dead silence in the cinema as the credits rolled for the screening of Claire Denis’ Stars at Noon. First time I’ve heard zero applause this Cannes. Maybe we’re all tired? Or perhaps nobody liked it? I know I’m not a fan. Was such a dull sluggish watch for a fugitive story.

    Rafa Sales Ross: STARS AT NOON asks an unbearable question: what if we get two people with the sexual chemistry of a pair of dry breadsticks and have them stare emptily at each other to the persistent sound of bad saxophone tunes for the whole of two hours and fifteen minutes?

    Karl Delossantos: STARS AT NOON is bad & I blame it on Joe Alwyn not being Robert Pattinson. Not sure how to criticize it because it’s just a boring mess. Plays like a Wikipedia page about Latin American politics (with more sex) at best. At worst it’s an overly long snore. A tragedy.

    Guy Lodge: Love Claire Denis. Love Margaret Qualley. They did not let me down in STARS AT NOON, though this very languid, very sexy, very Tindersticks-tastic spin on Graham Greene-land might try non-acolytes’ patience.

    Adam Nayman: THE STARS AT NOON (Denis) is a 400 million dollar experimental anti-film disguised as a superhero movie. It’s ending is brilliant.

    Jason Gorber: Claire Denis’ STARS AT NOON is a hot wet mess, with line “suck me” causing derisive laughter from those still awake at the screening. I somehow found it tolerable, especially as Benny Safdie makes a fine “consultant”. The cast try hard, but storyline is risible

    The Oscar Expert: Aside from Margaret Qualley being very good I felt startlingly indifferent to STARS AT NOON. I just don’t really know what telling this story was for? Didn’t feel much towards it, didn’t hate it. Idk.

    David Rooney: Sad to report that Claire Denis’ second English-language feature, STARS AT NOON, was for me the biggest let-down of the Cannes 2022 competition so far. Making this 1980s material contemporary just doesn’t work.

    Anna Bogutskaya: Watching STARS AT NOON is like watching two breadsticks sweat-fuck and yell bad Spanish. I’ve never seen anything more laughably un-erotic.

    Jack Schenker: This will almost definitely be panned by critics. In my opinion this incoherent slog was ABSOLUTELY ENCHANTING. This is a trashterpiece and I could not get enough of it. Easily one of my favs of the festival. Claire Denis Jazz.

    Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)

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    CarlosEdu
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    #1204964116

    Seems like the Jury is gonna have to go for some films that divide people a bit, given the consistency of the slate so far. But I agree, especially with President Lindon loving the director and Farhadi having worked closely with some of its stars, hard to imagine this one goes empty handed. Probably not the Palme (Grand Prix at best), but maybe Actress or Screenplay. We’ll see if “Broker” or “Close” can deliver on some pre-premiere buzz, and I’m very curious about “Pacification.” I think “Eo” and “Forever Young” (Les Amandiers) are strong contenders for some kind of prize in addition to “Leila’s Brothers,” with strong chances of some kind of mention for Cronenberg, Dardennes, Mungiu, Park, and Serebrennikov. So no shortage of potential prize possibilities, even for a competition year that seems more slight than usual. I have a bad feeling “Decision to Leave” could be left out in favor of another Korean-language film in “Broker” and genre-heavier “Crimes of the Future” stealing its thunder. I could see it breaking down something like: Palme d’Or – “Close” by Lukas Dhont Grand Prix – “Eo” by Jerzy Skolimowski Director – David Cronenberg, “Crimes of the Future” Jury Prize – “RMN” by Cristian Mungiu // “Tori and Lokita” by Jean-Pierre Dardenne & Luc Dardenne [tie] Screenplay – “Forever Young” by Valeria Bruni Tedeschi Actress – Taraneh Alidoosti, “Leila’s Brothers” Actor – Song Kang-ho, “Broker

    Oh my predictions are almost the same and I agree with you in some points

    Waiting for Close too, seems something that could surprise in this end of the festival. Almost sure that Broker will win something and Song Kang-Ho could be that, especially cuz his career at now deserves some recognition.

    I’m still predicting Decision To Leave to win the Palme D’or cuz I see Park winning at least something and this would be the only place that I see (Park won the jury prizes before, Director seems almost sure to Cronenberg and Screenplay isn’t happening).

    My predictions for now:
    Palme D’or: Park Chan-wook – Decision To Leave
    Grand Prix: Cristian Mungiu – R.M.N.
    Jury Prize: Jerzy Skolimowski EO / Dardenne Brothers – Tori and Lokita
    Director: David Cronenberg – Crimes of the Future
    Screenplay: Ruben Östlund – Triangle of Sadness
    Actor: Song Kang-Ho – Broker
    Actress: Tarane Alidousti – Leila’s Brothers or Michelle Williams – Showing Up

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    AMG
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    #1204964141

    In what has been a pretty divisive line up across the board, today feels like the best chance for us to get an all out RAVED film with three competition films screening:

    TOURMENT SUR LES ILES by Albert Serra
    BROKER by KORE-EDA Hirokazu
    CLOSE by Lukas DHONT

    Here’s hoping anyway because the awards seem so up in the air without an all out Palme contender yet!

    Though I do have high hopes for Un Petit Frere tomorrow from Leonor Serraille as I LOVED Jeune Femme which screened at Cannes a few years back!

    Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)

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