nobody movie_The best of Cannes broke through the desolation

The film festival was full of doomed protagonists, graphic murders and children turned to crime. But a handful were also hopeful.
Photo Illustration: Vulture; Photos from MGM, NEON and Loaded Films

Everyone who came to Cannes hoping to find the next one parasite or drive my car will probably leave disappointed. The 2022 edition hasn’t seen films critics cartwheeled down the Croisette, and many of its most anticipated titles proved either divisive or underwhelming. (Claire Denis, what happened?) But of course this is still Cannes, a two-week service in the cinema church, where the standard of quality is higher than elsewhere. Of the dozens of films we’ve seen during our time in France, these are our favourites.

By George Miller, the brilliantly insane mind behind it Mad Max: Fury Road and Babe 2: Pig in town, comes this maximalist fairy tale within fairy tale within fairy tale (about fairy tale). Tilda Swinton plays the “narrator” Dr. Alithea Binnie, a scholar who lectures on storytelling and its evolution over the centuries. One day, she comes into contact with a being she had previously assumed to function only as a metaphor: a Djinn leaping out of an ancient bottle, played with wit and intelligence by Idris Elba. The Djinn needs Alithea to grant three wishes so he can walk freely; Alithea knows better. As the two debate, joke, and tell each other stories from their lives, they begin to fall in love. If it all sounds like a bit much – well, yes. But it’s George Miller, and he’s here so earnestly and with such pure intent that he’s able to cast a convincing spell. —Rachel Handler

One of the illuminating aspects of international film festivals is seeing how the same social issues that plague the United States appear in different ways around the world. Take RMN., the latest raven-black social study by the Romanian author Cristian Mungiu (4 months, 3 weeks, 2 days), over a xenophobic backlash that derails a local bakery’s plan to hire three South Asian workers. Part of this drama is unique in Romania: the village is already divided between Romanian and Hungarian speakers and everyone is very proud to have got rid of the gypsies. But there’s no complacency here like these ex-commies. An American viewer can imagine the same events playing out in the States with surprisingly few changes. Its salient scene, where spineless compromise and firm principle prove utterly useless against Facebook bullshit, is the last half decade of world politics in microcosm. —Nate Jones

Body is Reality in David Cronenberg’s latest film, which he wrote more than 20 years ago but recently revived after an eight-year hiatus from filmmaking. It’s hard to sum it up in a sentence or two, but let’s try: it’s the near future, and surgery is the new gender — meaning people are cutting into each other as a recreational sport because they no longer feel pain or get infections be able . Much to their amazement, many of them also grow new organs; One of them, Saul Tenser (Viggo Mortenson), together with his partner Caprice (Lea Seydoux), introduces them to the public as a performance art project. When the “bureaucratic insects” from the National Organ Registry (Kristen Stewart and Don McKellar) become intrigued by Tenser — whom Stewart has dubbed one artistic avatar for Cronenberg – things get even blurrier and stranger. crime is beautiful, funny, fucked up and full of footage of someone cutting their stomach open – in other words, Classic Cronenberg. —RH

Kelly Reichardt gave us a Pacific Northwest Unpolished gems — Michelle Williams’ supposed ceramic artist has an exhibition at the gallery in a few days, but before she can put her sculptures in the kiln, other people’s shit keeps getting in the way! This is a light roast of a world where even adults on the precipice of middle age seem like overgrown children, and it offers the best animal performance of the entire festival from a wounded pigeon, as well as Cannes’ best on-screen credit: ‘Flute by Andre Benjamin. “ —NJ

This low blow of a movie comes from Chie Hayakawa, a first-time Japanese filmmaker who expanded the feature film of her 2018 short film of the same name. The film is set in an alternate version of Japan, where the government, faced with a rapidly aging population that is “sapping the financial resources,” decides to offer anyone over the age of 75 the chance to be euthanized for free. Through the eyes of three characters – a 78-year-old hotel maid who just lost her job, a young and callous Plan 75 registrar, and a woman who has to stop elder care because she isn’t being paid well enough and switches to Plan 75 instead – we see how harmful this concept is, not just for those it directly affects, but for society as a whole. Hayakawa was moved to write the film after the 2016 Sagamihara stabbing in Tokyo, in which a young man killed 19 people at a nursing home for disabled people, and said he was trying to “relieve” their families: “I was angry and I thought , if Japan accelerated this path of intolerance, what would that look like?” —RH

This kaleidoscopic montage of David Bowie’s career is best enjoyed sitting as close as possible to the largest screen you can find. Luckily it’s playing in the IMAX. Beginning in the early 70’s when Ziggy Stardust was just revolutionizing pop music, daydream remixes interviews and concert recordings, visual art from Bowie’s archive and snippets from his myriad influences to create a stunning visual symphony. Highlights include a glamorous cover of “Love Me Do” and a version of “Heroes” done with full arena-rock pomp. The notion of a “real” Bowie remains elusive throughout, but Brett Morgen’s film is a tribute to and illustration of him always go forward Philosophy – while leaving room for the times when Bowie, like all of us, was bullshiting. —NJ

Nobody does character studies quite like Mia Hansen-Løve, whose latest follows Lea Seydoux as a single mom who comes to terms with her father’s cognitive decline, raises her spunky baby daughter, and falls in love with an old friend (who also happens to be married). ). It’s a quiet, sexy little film full of lust, devastation and sweetness. It’s also a showcase for Seydoux, who is stunning in a role that may be an exact 180-degree turn from Cronenberg. In conversation with Diversity, Hansen-Løve acknowledged that it’s also deeply personal: “I wanted to process something that has happened to me several times, where you encounter the possibility of falling in love while grieving and moving away from the pain. ” —RH

We knew that Park Chan-wook could do outrageous things. (See: old boy and The maid.) But it turns out he can also offer us something more classic and understated. in the decision to go, Park has produced his take on a Hitchcock romance: a cop investigating the death of a mountain climber begins to suspect the man’s wife. The more he investigates, the more he falls in love with her; The more he falls in love with her, the more he investigates. She seems to share his feelings, but is she sincere or is she just using him? Deliciously curvaceous and full of Park’s signature visual wit (a shot from dead man’s perspective almost made me stand up and cheer) decision to go was the most enjoyable viewing experience I had throughout the festival. —NJ

Ruben Ostlunds triangle of sadness had all the excitement, but on a pure laughs-per-minute basis, there wasn’t a funnier comedy in Cannes than funny sides. Directed by Owen Kline – yes, the kid directed Squid and the Whale, who is now a 30-year collaborator with the Safdie brothers – it’s a coming-of-age comedy about a budding cartoonist who drops out of high school to pursue a career as an outsider artist, and doing just about everyone in his life upset way. Rough, rough and imbued with strange energy, funny sides feels like the kind of film that an insider at Kim’s Video would recommend. —NJ

This heartbreaking little gem of a film shows us Paul Mescal in his sad father era, single parenting in a Turkish resort with his 11-year-old daughter in the 90’s as he slowly falls into depression. The film is written and directed by Scottish filmmaker Charlotte Wells in her feature film debut. Also, newcomer Frankie Corio has a fantastic and effortless role as Sophie, a girl trying to bridge the gap between herself and her father while also convincing him to do REM karaoke and let her get a hair wrap. after sun, which is filmed as a flashback and partly on camcorder footage, is a film about memories and childhood – its fuzziness, its harrowing quality, the way it can wake us up in the middle of the night 20 years later. It’s also an adorable detail-perfect ’90s period piece, right down to the wardrobe, all Adidas and billowy t-shirts and chunky wristwatches. —RH

Most of the films I saw at Cannes this year were unrelentingly dark, full of doomed protagonists, graphic murders and young children forced by circumstances into ill-considered criminal activities. In that light, a smooth film like Hirokazu Kore-Eda’s estate agents stands out. In Korea, two baby nappers (one of them played by parasite‘s Song Kang-ho), accompanied by the birth mother, take to the streets in hopes of selling the infant to a loving home. The trio are being pursued by two female police officers as well as thugs hired by the baby’s late father’s wife. That sounds like the setup for a madman, Raise Arizona-style adventure, but if you’ve seen shoplifters, who won the Palm in 2018, know that’s not Kore-Eda’s style. He prefers sweet drama over makeshift families, so it might come as no surprise to see this gang of lowlifes having a second child and slowly becoming their own functional domestic entity. estate agents may be too cheesy for some, and at times it could be mistaken for pro-life agitprop, but I was drawn to its portrayal of raising children as a community responsibility. At the end of a stressful festival, it was just what I needed. —NJ


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