Patrick Soon-Shiong — immigrant, doctor, billionaire, and soon, newspaper owner — starts a new era at the Artistically aesthetic upbringing of children. Benny Safdie and co-director Josh Safdie. At the 70th edition of the Cannes Film Festival, recently concluded on May 28, L.
Times film critic Justin Chang took in the scene and all the movies he could watch on very little sleep. In this, his Cannes diary, he gives us an up-close view of one of the world’s most glamorous events, a mecca for film lovers. The 70th Festival de Cannes has ended and Pedro Almodóvar’s jury has rendered its verdict, which you can read about in my report on the closing-night awards ceremony. A title that more or less captures what it would probably feel like to be in Cannes now — once more a sleepy beachside town, with the red carpets rolled up and the metal detectors stowed away for another year.
Vasilina Makovtseva in the film “A Gentle Creature. Based on a highly selective and unscientific sampling of opinions on the Croisette, the general consensus is that while this may be a milestone 70th-anniversary year for the Festival de Cannes, it’s been a disappointing set of films overall, with one of the weaker competition slates in recent memory. That’s not to say there haven’t been good and even very good movies, only that they’ve been fewer and farther between. And yet — as always, a blanket sense of disappointment doesn’t tell the whole story.
The highs may not have been stratospheric this year, but there have been highs nonetheless. I’ll leave that horror for you to discover. With its single most challenging offering out of the way, the competition has seemed to speed toward the finish with several brisk, light-footed genre movies that have been, if not a series of unmitigated delights, then at least something of a relief. Robert Pattinson and Benny Safdie in the film “Good Time.
American independent filmmakers Josh and Benny Safdie. Joaquin Phoenix and Ekaterina Samsonov in the film “You Were Never Really Here. Adapted from a Jonathan Ames novella, the movie stars a heavily bearded Joaquin Phoenix as a severely troubled, hammer-wielding assassin whose latest job will either kill him or give him a reason to keep living. New York hellscape that combines sleek formal elegance, fatalistic humor, unsparing violence and another gorgeously unnerving score by Jonny Greenwood. Fitting the Hobbesian criteria of nasty, brutish and short — it’s been ruthlessly whittled down from an anticipated 95-minute running time to a terse, diamond-hard 85 minutes — Ramsay’s film brought the competition to an electrifying but polarizing close. As thoughts turn toward the jury prizes that will be handed out on Sunday, no film has stood out as a clear frontrunner for the Palme d’Or. Jérémie Renier and Marine Vacth in the film “L’Amant Double.
Not because it isn’t good, but because it’s exactly the sort of exuberantly disreputable pleasure that could not have been more of a tonic at the end of a long competition. The result is a marvel of reflective surfaces, feline reaction shots and graphic couplings: a psychoerotic thriller trashterpiece. It also features what may be one of the greatest opening shots in the history of cinema, one that drew gasps, laughs and claps from the audience with its speculum’s-eye view of its central character. I frankly pity the man who wins if he doesn’t. The actress field, sadly, offers rather fewer options. Rafael Santana and Diane Kruger in the film “In the Fade. Kruger plays a German woman who loses her Turkish husband and their young son in a bombing staged by neo-Nazi sympathizers.
A tense, methodical courtroom drama ensues, followed by a more personal search for justice. Akin’s movie is creaky but absorbing enough to make you look past its implausibilities and one-note characterizations, Kruger’s role being the grand exception. Nicole Kidman and Colin Farrell leave the Festival Palace after the screening of “The Killing of a Sacred Deer” at the 70th edition of the Cannes Film Festival. Coppola’s finely stitched crazy quilt of a career.