Review: "One Fine Morning" is the gentlest of gut punches

by Cláudio Alves

Autofiction isn't a new phenomenon, whether in film or other arts. Nevertheless, more and more directors are dipping their toes into pools of navel-gazing introspection. For some auteurs, however, there has never been another way of making art. Take Mia Hasen-Løve as an example. Her cinema has always manifested as a reflection of lived experience, pulling from personal details in gradations of openness, extrapolating narrative honesty as a conduit for building humanistic pieces. Empathy is the tenet of her cinema, not just between audience and characters but between the filmmaker and her creation. At least, that's the feeling that persists after one leaves the theater, still dazed by the director's work. 

Within this context, it means a great deal to state that One Fine Morning, Mia Hansen-Løve's latest, might be her most personal project to date…

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Cannes Diary #11 - Jury of One: Final Films & Awards Predictions

by Elisa Giudici

LEILA'S BROTHERS - one of the last to screen and a definite awards contender

It’s 3 AM as I type. I just finished packing my luggage while drinking my last cup of tea, trying to fight exhaustion. In my final day I saw three films which were curiously all about mothers and sisters. I'll try to collect my sleepy thoughts about those films, my predictions about who could win, and my second overall Cannes in loco after the jump. Let’s dive in...

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75th Cannes. Director's Fortnight Lineup

by Nathaniel R

The 54th edition of Directors Fortnight, a sidebar which plays alongside Cannes 75th Official Selection films, has announced its lineup for this May's screenings and festivities. The opening night ceremony will honor director Kelly Reichardt with the Carrosse d'Or for her oeuvre, which they describe like so

"Political humanistic and grounded in American land, her seven feature films tell an intimate counter - history of her country, attached to territories and underdogs." 

The lineup this year includes the following 23 features (if there's an asterisk it's a first film and thus also eligible for the Camera d'Or)...

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Cannes Diary #07: The French Dispatch, a Boomer, and a lot of "I liked it, but..."

by Elisa Giudici

Three Floors (Nanni Moretti)

Cannes Film Festival has a color coded hierarchy. The lowest of the low are Yellow pass holders. With their slightly less powerless Blue cousins, they spend a lot of time (aka hours) in queue, hoping for a miracle. Pink journalists arrive later, having a high priority pass that lets them sleep a little more. At the top of journalist hierarchy, the aristocracy of pass holders: legendary Le Blanche, aka White pass holders. They can arrive at the last minute, waving their credentials to open every door.

The tales say so though I've never witnessed this with my own eyes. This year, with the (still not that reliable but definitively improved) ticketing system, things were a bit different. Even I, a humble yellow pass holder, was able to see almost every single movie on my list. Here are the four competition films I saw today...

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Cannes at Home: Day 6

by Cláudio Alves

We hit our halfway mark with was a hectic day at the Cannes Film Festival. Mia Hansen-Løve, Nanni Moretti, and Ryûsuke Hamaguchi all premiered films vying for the Palme d'Or. That last one is an especially curious case since, earlier in 2021, Hamaguchi already won big at the Berlinale, taking home a Silver Berlin Bear for his other 2021 movie, Wheel of Fortune and Fantasy. Beyond those three, attendees were spoiled for choice. In other programs Clio Barnard, Radu Muntean, and Sergei Loznitsa presented their latest. Even in the realm of retrospective screenings, the offer was rich, with JFK, Mulholland Drive, and the Palme d'Or victor Black Orpheus getting another day in the sun.

For simplicity's sake, this home-viewing program shall focus only on past work from the three competition directors…

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