Cannes Diary: Uncanny women

by Elisa Giudici

WILD DIAMOND © Silex Films

On the second day of the competition, following that hour-long panel with Meryl Streep—whose charm, humor, and down-to-earth demeanor exceeded expectations—I delved into two films featuring tough, abrasive women capable of evoking genuine unease...

Click to read more ...

Cannes at Home: Days 2 & 3 – Blood, Sweat & Tears

by Cláudio Alves

WILD DIAMOND (2024) Agathe Riedinger

The first two days of competition screenings have whipped up a storm at the Cannes Film Festival. Things started normal enough with Agathe Riedinger's Wild Diamond, this year's only feature debut vying for the Palme. Reactions were a tad tepid, but the same can't be said about Magnus van Horn's Girl with the Needle, which has horrified some viewers. All hell broke loose on the second day of competition, when both Andrea Arnold's Bird and Francis Ford Coppola's Megalopolis had their world premieres. The British auteur earned general praise, though some found it confounding. As for the American master's long-awaited opus, opinions are so divided that a chasm seems to have broken open across the Croisette. Some say it's a catastrophe of epic proportions, while others see value in its epic mess. Whatever the case, it sounds like a fascinating watch, even as reports from the troubled shoot have enmeshed the picture in controversy. 

Since Riedinger has no previous features, she won't be included in the Cannes at Home fest. For the other filmmakers, let's revisit Sweat, Red Road, and Apocalypse Now…

Click to read more ...

Best International Film: Poland's "The Peasants" & the Philippines' "The Missing"

by Cláudio Alves

As Guillermo del Toro loves to remind us, animation is cinema. It's not a genre but a medium with its own particularities and styles, distinct idioms, and formal grammar. This year, some countries have taken these values to heart, selecting animated works to represent them at the Oscars. Curiously, two of them offer original ways to consider Rotoscoping as an animation practice, defying those who dismiss such films as lesser. They are Poland's The Peasants, from the same team behind Loving Vincent, and The Missing from the Philippines. Between painterly ravishment and digital befuddlement, these filmmakers take Rotoscope cinema to its limits and beyond…

Click to read more ...

Doc Corner: A to Z of the Longlist (Part 1)

By Glenn Dunks

I have been inconsistent with Doc Corner this year. Various reasons including (finally) a year outside of lockdowns, day jobs, and — as of recently — a need to prioritize movies so that I could submit my Golden Globes ballot. Now that that is done, back to normal. For now, a bit of catch-up. Using the recently announced list of 144 eligible docs, let's look at a few titles The Film Experience has missed full reviews on. Beginning on the rooftops of New Delhi, to a humble balcony in Poland, and a village high in the Vietnamese mountains—All That Breaths, The Balcony Movie and Children of the Mist...

Click to read more ...

Review: Skolimowski's "EO" is a miracle!

by Cláudio Alves

Can donkeys dream of heaven? One hopes so, for they need not search for hell in sleepy fantasy – they live it every day, wide awake. A world defined by human cruelty demands dreams of something better, something beyond the pain. Is it peace, love, a state of joy? Maybe it's red.

EO all starts in red. Bathed in scarlet light, skin touches fur, human hands over the animal's body, a trance-like choreography that's both intimate and public. There's a closeness to these touches that transcends their physical softness, a beauty that's more than mere performance for circus audiences – it's that heaven we spoke about, but maybe it's hell, too. Red will linger, a memory, perhaps a reverie. Dreams are nightmares by another name, and so is EO, both nightmare and dream right from the beginning…

Click to read more ...