At the end of the second week, the drop in internal pressure on the critic comes as a beneficial shock. A quick check in the festival app: There are 37 movies listed there, and not all of them made it to the end. Some blur in an inspiring mist, too – not the worst cinematic experience.
The lists of favorites have been made for The Palms, which will be awarded on Saturday, but as with programming, Cannes kept two of the most beautiful films going until the end. In fact, both fit perfectly into the laid-back vibe that big movies no longer intrude on. Actress Kelly Richart’s comedy “Appearance” and French director Leonor Serrael’s family story “Mother and Son” do well to watch their stories unfold (the former over a few days, the latter over twenty years). Milieu graphics with an unmistakable look.
In her third film with Reichardt, Michelle Williams plays a sculptor preparing for a solo exhibition in her studio in an artists’ colony where she conducts a lot of pottery, weaving, and dyeing. Her sick brother, injured pigeon, and selfish neighbor ensure minimal complications, but like all of Reichardt’s films, “Appearance” also tends to have a non-climatic finale. The director, filmed again in her adopted home in Portland, is so certain of her characters and visuals that she can do without narrative stunts. Your film is imbued with a love of manual labor.
Dear brothers and sisters
Saraiel’s “Mother and Son” (originally Un petit Frère) is the third film in the competition with a brother theme, after Arnaud Desperation’s Brother and Sister and Leila’s Brothers by Iranian director Saeed Rosati. And it wouldn’t be a surprise if Cyril and Rusty ended up with an award. Many of the films this year are about families (notably Elderden’s immigration dramas Tori and Lukita and Hirokazu Kore-eda’s take on Broker) but only mother, son, and Layla’s two brothers succeed, without false emotion and dramatically disguised to describe the forces of family bonding.
In Cyrael, an adult Ernest, who immigrated from Ivory Coast to Paris with his mother Rose and older brother Jean in 1989, plays the narrator. Rose (Annabelle Lingron) tries to give her children a better life, but the performance principle she uses to raise the boys and their constantly faltering drive for freedom separates the three over the years. Mother and Son is a sober and emotional look at the immigrant generation in Jacques Chirac’s long, still-blind spot in French cinema.
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On the other hand, the family drama “Leila’s Brothers”, which is about three hours long, occupies a more classic position in Iranian cinema, interspersed with directors. Rustaei describes his country’s patriarchal society at the moment of my generation’s change from the perspective of the title character.
With a jury that doesn’t make an overly cinematic impression on the outside, this “bildungsmerman” can certainly meet with sympathy. Romania also has a strong cast in Christian Mongius’ RMN, Hollywood with James Gray’s “Armageddon Time” about a Jewish family in New York in the late 1970s. An anomaly like last year’s Palms award-winning Titane isn’t ready to be grabbed, even in David Cronenberg’s Crimes of the Future. At best, Robin Ostlund’s clad “sadness triangle” can provide a touch of chaos.