Halfway Mark - Team Experience "Top Three" Random Joyfulness

Nathaniel here. Since I already shared my favourites of 2021 thus far in terms of films and performances, I asked the team about theirs halfway through the year. Since not everyone has had the opportunity to get fully back into the swing of moviegoing they were given free reign to share any kind of "top three" they wanted to. I felt such joy reading what made them the happiest, entertainment-wise, this year thus far. Maybe you will to. The various "top threes" after the jump...

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Streaming Roulette, July: No 7 Cherry Lane, Tomorrow War, Summer of Soul

Yes it's time for another round of streaming roulette where we point out a handful or two of titles that are streaming and just for fun, freeze frame them at totally random places in the scroll bar. Whatever comes up we share. Let's start with streaming premieres...

When I looked out into the crowd, I was overtaken with joy. I just saw so many black people. They were rejoicing.

SUMMER OF SOUL (Hulu)
We've already shared two thumbs up reviews: Murtada's from a long time ago at Sundance 2020 before the world stopped for COVID-19 and Glenn's Take when it reappeared this year. The story behind its making seems so incredible. How was all this footage just sitting here all this time and most people not knowing anything about this concert?

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Cannes at Home: Day 2

by Cláudio Alves

Today at the Cannes Film Festival, Israeli cineaste Nadav Lapid and French provocateur François Ozon premiered two more films in competition. Both flicks, Ahed's Knee and Everything Went Fine, have received good notices, intensifying international anticipation. Since most of us can't be at Cannes, we shall distract ourselves with past works from these auteurs. Another notable first screening was Todd Haynes' documentary about The Velvet Underground, featured out of competition. In the Cinema à la Plage section, Jerry Schatzberg's Palme d'Or-winning Scarecrow returned to the festival, while Joanna Hogg's The Souvenir screened for the Director's Fortnight in anticipation of its sequel. Considering all this, let's delve into our Cannes at Home alternative program…

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Cannes Diary #1: Adam Driver singing, journalists spitting, and other minor inconveniences

TFE is thrilled to have a correspondent on the ground in Cannes this year. Please welcome back Elisa Giudici.

by Elisa Guidici

It's my first day of my first year as a press pass holder at Cannes Film Festival. Let me tell you that as an Italian, I am so proud of how Venice Mostra handled their Covid-19 edition last season. Cannes had an extra year to plan how to be efficient, safe and as Covid-free as possible. How did the organisation spent these months?.The ticketing system to avoid long queues before screenings? A hot mess. The website? Almost always down. Covid tests? Bizzarre, but at least free for pass holders...

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Doc Corner: 'End of the Line: The Women of Standing Rock'

By Glenn Dunks

The politics of protest are always going to provide filmmakers with the sort of loaded emotions that make for good movies. Even when peaceful, the fractured dynamics of a society that continuously pits side against side in the fight for progressive ideas have long produced the sorts of anger and fierce determination that explode on camera. Racial equality (and more recently, Black Lives Matter), queer rights and women’s liberation have all been seen in compelling documentaries for decades.

But as environmental issues become more engrained as a fixture in the political and societal landscape, the street-battles to protect the only Earth we have are just as pertinent even if they perhaps lack the more personal connections that so many of us find in narratives of struggle and protest. In fact, Shannon Kring’s End of the Line: The Women of Standing Rock finds much of its power in the way race, gender and the environment overlap in the fight for our planet's future.

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