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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Cannes Diary #4: Cannes gets undressed with two lesbian nuns and a naked maid.

by Elisa Guidici

by Elisa Guidici

Blame the pandemic, blame the sensuous summer in Riviera, this Festival is rated R for sure. A lot of nakedness, numerous explicit sex scenes (with a preference for cunnilingus) and in general the inability to spend a day at screenings without a full frontal or two. Sometimes journalists try to sell Cannes coverage insisting on the hotness of various movies. Well, no one needs to exaggerate this year: Benedetta gave us all the scandalous content we wanted...

Benedetta (Paul Verhoeven)
COMPETITION FILM

This historical queer drama about the forbidden love between two nuns was my most anticipated film and what an experience it was...

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Cannes at Home: Day 5

by Cláudio Alves

After the virulently negative reviews that befell The Last Face, it's surprising to see Sean Penn back in the main competition so soon. Flag Day marks Penn's third directorial effort to vie for the Palme d'Or after winning big in Cannes as an actor. The reactions, so far, seem primarily positive, and that's a big step-up from last time. Another main competition screening was Finnish director Juho Kuosmanen's Compartment No. 6, which some have already compared to Before Sunrise. Back in 2016, he won the Un Certain Regard section with The Happiest Day in the Life of Olli Mäki, so this promotion to the big league feels especially earned. To celebrate the occasion, our alternative program shall focus on these directors' earlier successes…

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Cannes Diary #3: From Haynes to Trier, a binge-watch kind of day

TFE is thrilled to have a correspondent on the ground in Cannes this year. Thank you to Elisa Giudici.

The Velvet Underground

by Elisa Guidici

It was a really intense day. I was greedy, I could not say no to the majority of the movies screened today so I basically spent the third day inside Palais, running from one screening to another. Six in all (!) With some positive surprises.

The Velvet Underground  (Todd Haynes)
OUT OF COMPETITION

It is perhaps predictable that Todd Haynes would do a fine job in telling the story of Velvet Underground in his newest documentary. He is the man behind Velvet Goldmine and I'm Not There so he has already shown an understanding of the sensibility and the struggle of rock music genre and inner restlessness...

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Cannes at Home: Day 4

by Cláudio Alves

Benedetta has arrived! Going into Cannes, Paul Verhoeven's promised delirium of Baroque nunsploitation was one of the most anticipated titles in competition. As the mixed reactions pour out of the Croisette, international expectations have only increased; Unanimous praise would be disappointing for such a film. Beyond Verhoeven in the Competition lineup, Catherine Corsini also premiered her latest La Fracture. Other promising new titles outside the competition slate are Eva Husson's Mothering Sunday and Karim Aïnouz's Mariner of the Mountains. As we wait for those four gourmet prospects to be released or come to a future festival near us, we look back at these directors' past works, to find many visions of carnality, both sensual and disturbing...

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