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May 27, 2022 at 3:53 pm #1204965675
Completed the series and it is BAFTA worthy stuff!
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 27, 2022 at 12:02 pm #1204965526
Un Certain Regard winners
Top Prize: The Worst Ones (Lise Akoka & Romane Gueret)
Jury Prize: Joyland (Saim Sadiq)
Best Director: Alexandru Belc for Metronom
Acting: Vicky Krieps for Corsage AND Adam Bessa for Harka
Screenplay: Mediterranean Fever
Coup de Coeur Prize: Rodeo
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 27, 2022 at 11:58 am #1204965520
Mother & Son First Reactions
Guy Lodge: I was greatly moved by Leonor Serraille’s quiet, lovely MOTHER AND SON, the last film to screen in this year’s Cannes competition. Expands the palette and worldview of her Camera d’Or-winning debut JEUNE FEMME; keeps her grace and wit.
Caspar Salmon: Léonor Serraille’s UN PETIT FRÈRE is getting a heck of a reception after its screening, and deservedly so – it’s a really tender family epic, beautifully shot, with real detail in its observation of this Black family in Paris and Rouen. Gorgeous.
Francesc Vilallonga: The last film seen in Cannes this year is a chronicle of immigration seen through the eyes of a mother and two children. It clearly goes from less to more and points out interesting elements. However, it may not have been a movie to enter the official section.
Julien Lada: Not really convinced, unfortunately, by Léonor Serraille’s LITTLE BROTHER, a three-part portrait of a family that integrates and falls apart. The dispersion of focus misleads the overall view and the film gradually dries up after a promising first act
Stephanie Bunbury: A little too often, Mother and Son reads that way, as a dossier of the immigrant experience. That experience is admirably well observed and largely absorbing but it’s a little too much in a small space.
Robbie Collin: Right at the end, the Cannes comp lobs in another beaut: Léonor Serraille’s Mother and Son, a sparkling family immigrant drama that skews more Steve McQueen than Dardenne, which is more than fine by me.
Damien Leblanc: Léonor Serraille concludes the competition of Cannes 2022 in style. Recounting the integration of a single-parent family in France at the end of the 20th century through three points of view, the film deploys a poignant narrative breadth and a superb cast.
Euan Cook: An incredibly profound glance into the lives of Côte d’Ivoire migrants living in Paris. The film’s beating heart stems from the POVs of a fractured, tenable relationship between a mother and her two sons – I cried…
Fabien Lemercier: Léonor Serraille raises her game with a highly refined second feature following fifteen years in the tumultuous life of a family trio. The film proves the subtle yet mind-blowing skill of Léonor Serraille.
Juliette Reitzer: Overwhelmed by the romantic and tragic scale of Mother and Son by Léonor Serraille, what a finale! If it’s not on the list, I give my apron back.
Santiago Varela Antúnez: Mother & Son by Léonor Serraille recounts the evolution of a family from the Ivory Coast upon their arrival in Paris. We watch as the years go by with a changing point of view that divides the film into three parts. Interesting, but not enough for the Official Section.
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 27, 2022 at 10:02 am #1204965444
Showing Up First Reactions
Isaac Feldberg: Kelly Reichardt sets Michelle Williams down in Portland’s art scene, lingering there to capture a community’s daily chaos as not simply a distraction from art but a font of creativity itself. Gentle, good-humored, absurdly great actors in every frame. I loved!
FilmLand Empire: Kelly Reichardt here at her most seemingly mundane yet most richly evocative perfectly captures the daily life of an artist and her simmering frustrations. Quietly affecting with an outstanding Michelle Williams. Film of the fest/year!
Tim Grierson: If I was on the Cannes competition jury, my vote for the Palme d’Or would go to Kelly Reichardt’s terrific new film.
David Jenkins: Kelly Reichardt’s Showing Up is Ordet in a liberal arts college. Michelle Williams stunning as after-hours sculptor with a naughty cat. An ambient “portrait of an artist” movie like no other, and surely as close to KR autobiog as we’ve had thus far. Funny too.
David Ehrlich: Michelle Williams is a stressed Portland artist who finds herself caring for a wounded pigeon in a Kelly Reichardt comedy so feather-light it makes Wendy & Lucy seem like a David Lean epic, but it all rings sharp & true.
Martyn Conterio: Kelly Reichardt’s Showing Up is a wee gem about class, money, creativity and rivalry. Hong Chau is ace as a flakey landlord and artist.
Jordan Farley: Kelly Reichardt’s lovely, low-key portrait of a sculptor preparing for an art show while nursing a pigeon. Great on the frustration of creation and professional jealousy, but a relatively slight Reichardt/Williams reunion.
Juan Barquin: Reichardt sculpts a lovely portrait of a woman living too close to the fire, so close to burning out. Life, family, work, art, landlords, friends, rivals, nature, and time (or lack thereof) all constantly draining us, but we keep existing for minor moments of beauty.
Catherine Bray: Had a really lovely time with the new Kelly Reichardt film Showing Up – the deceptively muscular but low-key work from all involved makes deft insights into the way that success intersects with our sense of self feel soft and sweet and effortless.
Christer Emanuelsson: Kelly Reichardt’s Showing Up is a different animal. After all the emotionally overwrought films that polluted the competition, it’s a relief to enjo a work that Dhont try to wring out sentimentality from every scene. Funny, humanistic, and made with a rare precision.
Jason Gorber: I was swayed by SHOWING UP, a very well realized film that kind of floats along. Broken people making broken art and trying to wrap it up so that it will fly. In other hands it would be appalling, but Reichardt/Williams infuse the socks/sandals aesthetic with style
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 3:17 pm #1204964704
Close First Reactions
Robbie Collin: Well – I loved everything about Lukas Dhont’s miraculous Close, which I think might well win the Palme d’Or. Tried to explain the premise to someone earlier and couldn’t even get through that without sobbing. It’s an extremely special film.
David Ehrlich: deeply mixed on Lukas Dhont’s latest coming-of-age drama, which renders its young leads with great sensitivity only to come down on them with all the care of a sledgehammer.
Patrick Wellinski: Coup de Coeur. A sad, whispering film: closeness, friendship, the speechlessness, the search for guilt, the reproaches – all just in the game of looks. Crazy youth actors – as in Téchiné. Will be a small blockbuster.
Leslie Felperin: A tender heartbreaker with a stunning lead turn. Given the capricious unpredictability of juries, it may come away with nothing in Cannes but it will definitely be a serious contender at festivals and awards ceremonies going forward
Pascal Gavillet: A monumental slap! From a particular friendship between two young boys, the film falls into the most universal tragedy. Dhont manages the economy of his narrative masterfully. We come away upset. Deserves the Palme d’Or.
Wendy Ide: Lukas Dhont’s sophomore picture is an intimate, quietly devastating study of childhood friendship between two boys. A picture which is intimate in scope but which packs a considerable emotional wallop.
Wolf Rafael: Close by Lukas Dhont is my obvious Palme. A fusional friendship between two teenagers shattered by a tragedy. It’s devastatingly emotional, the staging is prodigious, the young Eden Dambrine nails you to the ground. it is for this kind of film that we come to Cannes
Jason Gorber: Lukas Dhont crafts a moving, heartfelt, emotionally rich coming of age tale, with astonishing performances by newcomers Gustav De Waele and Eden Dambrine. Beautifully shot and captured, one of the great films of Cannes 2022
Tim Grierson: Because boys aren’t taught how to talk about their feelings, they’re ill-equipped to grapple with their pain or those close to them. Lukas Dhont’s unconventional coming-of-age drama is about emotional development more than anything else. Reserved but affecting.
Francesc Vilallonga: The best film of the festival. An extraordinary prodigy of sensitivity. How difficult what the Belgian director does and what a marvel of actors. Skin-deep emotions. Lukas Dhont was the main cover of the official section. Palme??
Rafa Sales Ross: It’s strike two for Lukas Dhont with CLOSE, a collage of beaten melodrama tropes that works neither as an observation on the painstaking intensity of youth nor a rumination on the harmful ripples of structural constraints.
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 2:19 pm #1204964671
I’ve watched the first two episodes of Big Boys tonight, the new C4 comedy starring Dylan Llewellyn (aka the wee English fella) and it is BRILLIANT!
Very excited to see what the rest of the series has in store, but it is right up there as one of my favourite comedies of the year so far.
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 11:21 am #1204964474
Pacification First Reactions
Quentin Grosset: The craziest and most adventurous film in Competition, and I hope it gets the Palme. Albert Serra films Benoît Magimel like we’ve never seen him before, exceptional as a disoriented politician on an island that becomes a labyrinthine hell
David Jenkins: Albert Serra’s lugubrious anti-thriller Pacification a visually rhapsodic portrait of a bullish politico facing down the apocalypse in Tahiti. Extraordinary, all-in performance from Benoit Magimel. Seeing this on a massive screen was a literal dream.
Guillaume de Seille: For the first time in competition at Cannes, Albert Serra presents his least convincing film: an endless succession of limp improvisations, the film proves above all that a screenplay is ultimately quite useful.
Eric Kohn: Nobody disassembles crude men in power like Albert Serra. PACIFICTION is on a continuum with THE STORY OF MY DEATH and THE DEATH OF LOUIS IX. Looking forward to dissecting it.
Mathieu Macheret: with Benoît Magimel in a state of grace, the new film by Catalan director Albert Serra is a magnificent paranoid thriller set against a backdrop of political fiction
Peter Bradshaw: It is a nightmare that moves as slowly and confidently as a somnambulist, and its pace, length, and Serra’s beautiful widescreen panoramic framings – in which conventional drama is almost camouflaged or lost – may divide opinion. I can only say I was captivated by the film and its stealthy evocation of pure evil.
Pete Hammond: Serra’s film is one of the more politically intriguing at this year’s Cannes, especially so because it is wrapped in such gorgeous packaging. Magimel seems made for this role, making this guy his own and it becomes another high point in this fine actor’s sterling 35 year career.
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 10:39 am #1204964440
Broker First Reactions
Iana Murray: my pick for the palme. an empathetic road trip odyssey reflecting on the family we choose and the family we tearfully let go of. i might be biased but i thought lee ji-eun was particularly outstanding (in a film with song kang-ho!)
Luke Hearfield: Don’t think I could’ve asked for a sweeter film to end my time at Cannes Hirokazu Koreeda’s ‘Broker’ is another heartwarming and tear-inducing story of chosen family. I think I may actually prefer this to Shoplifters. Song Kang-Ho and Ji-eun Lee made me feel all the feels.
Karl Delossantos: BROKER is at once heartwarming & heartbreaking. A sensitive portrait of chosen family with a sly criminal plot that keeps you engaged, but it’s the irresistible and hilarious cast of characters led by Song Kang-ho that keep you hooked. One of the best of the fest.
FilmLand Empire: Kore-eda-esque to the max with the director handling the contrast between the harshness of the subject and the tender tone well… but here he just doesn’t hit the emotional high notes of his best films. Still, Lee Ji-eun is outstanding!
Guilherme Jacobs: Beautiful beautiful BEAUTIFUL. Hirokazu Koreeda has made a sad, gentle and touching work about lonely and abandoned people, and how the broken pieces of each fit into the others. Loved it. Cinema was full of people crying. Maybe I was one of them.
Donald Clarke: There is too much plot in Kore-eda’s BROKER. And he’s done the “unconventional family” before. But this remains a delightful melodrama in a muffled minor key. The closing scenes are ruthlessly moving.
Rafael Motamayor: Kore-eda does yet another emotional and stort about found family with BROKER. Cast is great, but movie felt too long and a bit derivative.
Ella Kemp: Loved BROKER, typically bittersweet from Kore-eda w/ another strange, tender family – but more complex here w/ questions of forgiveness & responsibility & choice, crucially a woman’s choice that never feels right, whatever you do. Takes a master to get that right
Jacob Stolworthy: BROKER is really great – a tender road movie about abandonment and the family you make along the way in places you least expect. familiar Kore-eda territory, then, but just as good as anything he’s done
Wendy Ide: Was not a fan of Broker: soupy, sentimental and oddly judgmental rehash of familiar themes.
Christoph Schelb: The new Kore-eda is about human traffickers and murderers. It is the most loveliest film in the cannes competition 2022.
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 10:28 am #1204964432
No series has had my heart unconditionally like This Is Us has since it’s very first episode six years ago, and I doubt anything comes close to it either.
It was a beautiful final episode that didn’t need to have the grand sweeping emotional scenes that we’ve had throughout the final season (and show as a whole). There is a mastery in this episode being about life itself and enjoying those little moments whilst being open to taking the big risks.
It was always going to end where we reach the point we couldn’t have any more of either Jack or Rebecca. The show from the off has been about them, their family, their relationship and their eventual deaths. I love that we got a snapshot of what the Big Three’s futures may look like whilst staying true to the show and having the timeline go up as far as Rebecca’s passing and funeral.
The ending of This Is Us will naturally bring about questions of US broadcast drama and where it’s future lies in an ever changing landscape for television. But for the moment I just want to bask in the glow that This Is Us has left me with from beginning to end. It’s the ultimate warm hug of a show, even if it broke me pretty much every single episode. I can honestly say I will miss it SO much but I am SO thankful to have been able to watch it from the beginning and be a spectator on its beautiful journey.
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 9:03 am #1204964366
Has Joe Alwyn finally run out of chances? He’s having a rough go
If Broker delivers on potentially being a clever but very heartfelt film, it could really stand out in this field.
Conversations with Friends is good tbf.
As a leading man though, I don’t think he’s gonna stick around. Maybe Hallmark and Netflix romcoms are his future…or being a house husband while old Swifty earns the bacon!
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 5:45 am #1204964174
Prediction for what gets shortlisted (assuming there are 5 per category, but they seem to make up different numbers every year)
Factual Entertainment may be the most hotly contested of all the categories. A couple of past winners and very popular perennial nominees against some formidable newbies!
This Is Going To Hurt
The Thief, His Wife and the Canoe
Drag Race UK
Call The Midwife
All Creatures Great & Small
Ant & Dec
Bradley & Barney: Breaking Dad
Paul O’Grady For The Love of Dogs
Jonathan Bailey – Bridgerton
Suranne Jones – Vigil
Ben Whishaw – This Is Going To Hurt
Stephen Graham – Time
Cillian Murphy – Peaky Blinders
Graham Norton Show
I’m A Celebrity
Saturday Night Takeaway
Alan Sugar – The Apprentice
Joe Wicks – The Body Coach
Sir David Attenborough – The Green Planet
Kaleb Cooper – Clarkson’s Farm
Martin Lewis – The Martin Lewis Money Show
Serial Drama Performance
Sally Carman – Corrie
Paige Sandhu – Emmerdale
Mark Charnock – Emmerdale
Gillian Wright – Eastenders
Max Bowden – Eastenders
Beat The Chasers
In For A Penny
Cats Does Countdown
Kit Connor – Heartstopper
Joe Locke – Heartstopper
Charitha Chandran – Bridgerton
Arin Smethhurst – Casualty
Paddy Bever – Corrie
Steph’s Packed Lunch
Not Going Out
Talent Show Judge
Sheridan Smith – Starstruck
David Walliams – BGT
Danny Jones – The Voice Kids
Ru Paul – Drag Race UK
Anton Du Beke – Strictly
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 4:17 am #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)May 26, 2022 at 3:34 am #1204964126
My NTA votes:
NEW DRAMA: This Is Going To Hurt
TALENT SHOW: Strictly Come Dancing
AUTHORED DOCUMENTARY: Paddy & Christine McGuinness – Our Family and Autism
RETURNING DRAMA: This Is Us
TV PRESENTER: Claudia Winkleman
FACTUAL ENTERTAINMENT: Interior Design Masters
DRAMA PERFORMANCE: Ben Whishaw – This Is Going To Hurt
ENTERTAINMENT: Married At First Sight UK
SERIAL DRAMA: Doctors
EXPERT: Michelle Ogundehin – Interior Design Masters
SERIAL DRAMA PERFORMANCE: Rose Ayling Ellis – Eastenders
QUIZ GAME SHOW: Only Connect
RISING STAR: Alison Oliver – Conversations with Friends
DAYTIME: Steph’s Packed Lunch
COMEDY: Derry Girls
TALENT SHOW JUDGE: Ru Paul – Drag Race UK
Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)May 26, 2022 at 12:30 am #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)May 25, 2022 at 1:02 pm #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!)
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