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Cannes Film Festival 2022

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    babypook
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    #1204950536

    Crimes of the Future

    ‘Crimes of the Future’ Official Poster Enters the Mind of David Cronenberg

    The Sunne in Splendour.
    I prefer my roses white

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    DCurrie
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    babypook
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    #1204950548

    As she should!

    She’s going to kick ass in Woman King.

    The Sunne in Splendour.
    I prefer my roses white

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    DCurrie
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    #1204950557

    She’s going to kick ass in Woman King.

    COUNT ON IT, BABYPOOK!!

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    Barbra Please
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    babypook
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    #1204951161

    Spacey

    Another Kevin Spacey Project Is Heading To The Cannes Market In The Shape Of ‘Peter Five Eight’

    The Sunne in Splendour.
    I prefer my roses white

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    babypook
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    #1204951378

    Isabelle Huppert

    Cannes Competition Entry ‘EO’ With Isabelle Huppert Sells To France

    The Sunne in Splendour.
    I prefer my roses white

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    veronikavoss
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    #1204951411

    Full scheduled outlined below this. Based on certain hunches of the scheduling, at least on paper, I think some of the major stories of this year’s fest could come from Bruni Tedeschi, Cronenberg, Koreeda, Mungiu, Park, Roustayi, and Saleh. On top of that I think the new Serra could be a polarizing discovery that could be a Jury Prize contender, I think there’s a lot of momentum for Reichardt to win a major French festival prize and same with Serebrennikov for a combination of the political atmosphere and his own streak with Cannes selections in such a short time. Of course you can also never count out the Dardennes with a festival jury, and I’m personally always rooting for Claire Denis.

    (all times CET)

    Wed. 18th:
    3:30pm – ZHENA CHAIKOVSKOGO (Tchaïkovski’s Wife) by Kirill SEREBRENNIKOV

    10:30pm – LE OTTO MONTAGNE by Charlotte VANDERMEERSCH and Felix VAN GROENINGEN

    Thu. 19th:
    7:00pm – ARMAGEDDON TIME by James Gray

    10:00pm – HI-HAN (Eo) by Jerzy SKOLIMOWSKI

    Fri. 20th:
    4:00pm – BOY FROM HEAVEN by Tarik SALEH

    10:00pm – FRÈRE ET SŒUR by Arnaud DESPLECHIN

    Sat. 21st:
    6:00pm – TRIANGLE OF SADNESS by Ruben ÖSTLUND

    9:30pm – RMN by Cristian MUNGIU

    Sun. 22nd:
    4:00pm – HOLY SPIDER by Ali ABBASI

    7:00pm – LES AMANDIERS by Valeria BRUNI TEDESCHI

    Mon. 23rd:
    6:00pm – HAEOJIL GYEOLSIM (Decision to Leave) by PARK Chan-Wook

    9:30pm – CRIMES OF THE FUTURE (Les crimes du futur) by David CRONENBERG

    Tue. 24th:
    3:30pm – TORI ET LOKITA (Tori and Lokita) by Jean-Pierre et Luc DARDENNE

    10:15pm – NOSTALGIA by Mario MARTONE

    Wed. 25th:
    3:00pm – LEILA’S BROTHERS by Saeed ROUSTAEE

    10:30pm – STARS AT NOON by Claire Denis

    Thu. 26th:
    3:15pm – TOURMENT SUR LES ILES by Albert Serra

    7:00pm – BROKER by KORE-EDA Hirokazu

    10:00pm – CLOSE by Lukas DHONT

    Fri. 27th:
    3:15pm – SHOWING UP by Kelly REICHARDT

    6:00pm – UN PETIT FRERE by Leonor SERRAILLE

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    babypook
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    AMG
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    #1204954876

    Final Cut First Reactions

    Robbie Collin: Fair to say that no one was crying out for a remake of One Cut of the Dead, but Michel Hazanavicius makes a surprisingly persuasive case for it. On the Call My Agent-like pleasures of Final Cut, which just got Cannes 2022 off to a genial start

    David Ehrlich: Cannes 2022 kicks off on a bum note as Michel Hazanavicius’ deeply uninspired One Cut of the Dead remake is a master class in how to do the exact same thing but worse. I was promised zombie Uggie!

    Amy Smith: Aside from a few pacing issues, COUPEZ, or FINAL CUT, is a lot of fun! Plenty of surprises to keep you guessing and certainly a film to see in a large crowd. A fantastic opening film for Cannes, I immediately want to watch it again!

    Ben Rolph: COUPEZ (aka FINAL CUT) is hilarious, starts off extremely intense and develops into something seriously funny. It’s a great watch and the perfect start to Cannes 2022

    Luke Hearfield: Gotta admit after the meh ‘The Dead Don’t Die’ I was sceptical about another zom-com opening Cannes 75. However, Hazanavicius’ ‘Final Cut’ was bloody brilliant! It’s a little baggy in the middle but the payoff in the final act is super satisfying. Really fun start to the festival

    Tim Grierson: Delightfully silly and an ideal opener for this year’s Cannes Film Festival, finding the humour and pathos in all those poor fools who devote their life to the moving picture business

    Danielle Solzman: Final Cut might not win any Oscars but the film gives us the sort of fun that audiences need right now.

    Anne Thompson: With low expectations, and never having seen the original, on Cannes opening night I enjoyed Michel Hazanavicius’ minor movie inside a movie starring adept comedians Romain Duris and Berenice Bejo, even chuckled a few times.

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

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    Richie Rich
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    #1204954960

    Final Cut First Reactions Robbie Collin: Fair to say that no one was crying out for a remake of One Cut of the Dead, but Michel Hazanavicius makes a surprisingly persuasive case for it. On the Call My Agent-like pleasures of Final Cut, which just got Cannes 2022 off to a genial start David Ehrlich: Cannes 2022 kicks off on a bum note as Michel Hazanavicius’ deeply uninspired One Cut of the Dead remake is a master class in how to do the exact same thing but worse. I was promised zombie Uggie! Amy Smith: Aside from a few pacing issues, COUPEZ, or FINAL CUT, is a lot of fun! Plenty of surprises to keep you guessing and certainly a film to see in a large crowd. A fantastic opening film for Cannes, I immediately want to watch it again! Ben Rolph: COUPEZ (aka FINAL CUT) is hilarious, starts off extremely intense and develops into something seriously funny. It’s a great watch and the perfect start to Cannes 2022 Luke Hearfield: Gotta admit after the meh ‘The Dead Don’t Die’ I was sceptical about another zom-com opening Cannes 75. However, Hazanavicius’ ‘Final Cut’ was bloody brilliant! It’s a little baggy in the middle but the payoff in the final act is super satisfying. Really fun start to the festival Tim Grierson: Delightfully silly and an ideal opener for this year’s Cannes Film Festival, finding the humour and pathos in all those poor fools who devote their life to the moving picture business Danielle Solzman: Final Cut might not win any Oscars but the film gives us the sort of fun that audiences need right now. Anne Thompson: With low expectations, and never having seen the original, on Cannes opening night I enjoyed Michel Hazanavicius’ minor movie inside a movie starring adept comedians Romain Duris and Berenice Bejo, even chuckled a few times.

    These reviews are confusing. Lol

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    Richie Rich
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    #1204954964

    Does anyone think Final Cut can be a Best Foreign Language film Oscar contender for France like Day for Night? I can’t seem to make up my mind from these reviews. Help!

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    AMG
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    #1204955927

    Tchaikovsky’s Wife First Reactions

    David Ehrlich: had a good time with Kirill Serebrennikov’s increasingly delirious TCHAIKOVSKY’S WIFE, which offers some *very* unexpected answers to the ancient question: what if Tchaikovsky had a wife?

    Fabien Lemercier: A great piece of darkness, almost overwhelming and masterfully directed with a fantastic Ekaterina Ermishina in the main role

    Peter Howell: Alyona Mikhailova’s impassioned title performance as the unloved and luckless wife of the closeted “Swan Lake” composer elevates a bleak film by Russian dissident Kirill Serebrennikov. This is not a music movie; it’s almost an anti-music one.

    Amy Smith: TCHAÏKOVSKY’S WIFE is absolutely stunning and features a sensational score and a heartbreaking leading performance by Alyona Mikhailova. The story is a little long and repetitive but I found enough to remain engaged throughout.

    FilmLand Empire: fascinating tale of obsession, self-delusion and loneliness, sumptuously shot but with a purposely cold, harsh style, often low-key but with several striking scenes too. Outstanding, with Alyona Mikhailova is an early contender for best actress

    Jack Schenker: Well deserved ovation for this rich and textured historical drama. Awe inspiring camera work, an emphatic sound design and an incredible performance from Alyona Mikhailova steal the show. Unconventional in all the best ways.

    Robbie Collin: Much as it would be nice to report that the film lived up to its director’s triumphant return, it’s unfortunately a swaggering chore: watching it feels like competing in a sort of art-house cinema Krypton Factor, with a barrage of interpretative dance interludes, unflinching full-frontal male nudity, pulverisingly bleak mise-en-scene, and writhing mental collapse.

    Francesc Vilallonga: Alena Mikhailova is stunning in this sumptuous, aesthetically dazzling and thematically exciting new film by Serebrennikov. First firm candidate for best actress and the competition that starts strong. Magnificent.

    Peter Bradshaw: This is undoubtedly a vehement and very watchable drama – far superior to Serebrennikov’s previous film, the sprawling and unrewarding Petrov’s Flu. Alyona Mikhailova is tremendous as estranged wife Antonina, whose naivety and narcissism fester in the rubble of her marriage to the gay composer.

    Karl Delossantos: Tchaikovsky’s Wife eventually finds its way to an incredible effective nightmare ballet of a third act. But it’s little too late to make up for its overly long meandering runtime. It’s a shame because the vision is there. It just misses in execution

    The Oscar Expert: Tchaikovsky’s Wife has stunning cinematography and masterful lighting. Alena Mikhaylova gives a great performance. I like the story it tells, love how it’s told, but felt it was hitting the same point over and over again.

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

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    veronikavoss
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    #1204956062

    Does anyone think Final Cut can be a Best Foreign Language film Oscar contender for France like Day for Night? I can’t seem to make up my mind from these reviews. Help!

    Lol no, I don’t think that’s likely. Seems like it could be at least a nice hit for Hazanavicius, though, at least in his home country.

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    AMG
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    #1204956453

    The Eight Mountains First Reactions

    Pascal Gavillet: The story of a perfect and incandescent (and unambiguous) friendship between two men united for eternity. A pure story told with implacable righteousness. Magnificent.

    Rafa Sales Ross: Utterly captivated by Felix Van Groeningen and Charlotte Vandermeersch’s THE EIGHT MOUNTAINS, a spellbinding love letter to friendship that beautifully encompasses the rhythms of life’s ever-moving tides. Luca Marinelli and Alessandro Borghi are phenomenal.

    Francesc Vilallonga: A story of friendship and passion for life in the mountains narrated through 3 decades. Irregular, with a promising first act but ending up drifting towards Reader’s Digest’s Zen philosophy

    Amy Smith: THE EIGHT MOUNTAINS works incredibly well as a slow paced serene experience that captured my heart from the first scenes. I can recognise that it’s long, but the time never bothered me. Absolutely brilliant.

    Wendy Ide: There are few surprises in the filmmaking, but The Eight Mountains is a rich and satisfying piece of storytelling.

    Jack Schenker: Cinematic Hypnotism achieved. When this film takes you to the top of the mountain it soars. What happens on the ground is a little less interesting, however, it will be hard to find a more effecting/better shot drama this year.

    Karl Delossantos: The Eight Mountains tries to mine some profundity from its “into the wild” narrative but comes up with nothing. It’s beautifully shot but I’m frankly confounded by the entire story. It starts nowhere and goes nowhere slowly and painfully.

    David Rooney: Luca Marinelli and Alessandro Borghi give soulful life to friends observed over three decades in THE EIGHT MOUNTAINS, but this sensitive adaptation of the prize-winning novel remains a tad underpowered.

    The Oscar Expert: The Eight Mountains is a slow, spiritual experience about the mysterious journey of finding purpose and belonging. Gives lots of space for people to take away different things. I’m not sure I had as many revelations as I craved, but still got something out of it.

    Iana Murray: i think THE EIGHT MOUNTAINS doesn’t pack nearly enough to warrant its runtime, but luca marinelli is one of the very best so can’t complain. great views, beautiful views

    Jessica Kiang: The Eight Mountains, at nearly two-and-a-half hours, is long and it is often sad. But it is also joyful and grateful and wise, with an emotional heft that mounds in the middle

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

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