Cannes: Four opening films, ranked.

by Elisa Giudici

IN WAVES

With Cannes now in full swing, let's rank the four opening titles from Un Certain Regard, Director's Fortnight, Critics Week, and Out of Competition.

4. In Waves by Phuong Mai Nguyen (France/Belgium) [Opening Film of Critics’ Week]
In Waves is probably the most polished and emotionally accessible of the festival's four openers, which, for my taste, also makes it the least exciting. The film follows AJ, a shy teenager obsessed with sketching and skating, whose world gradually expands after he becomes close to Kristen, the older sister of his best friend. Through her, AJ discovers surfing, which the film treats less as a sport than as a way of existing inside the world: a physical and emotional state where identity briefly feels stable, harmonious, almost suspended outside ordinary life...

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Review: The Incredible "Blue Heron" Devastates at a Distance

By Ben Miller

Creating distance and disorienting your audience is usually not what a filmmaker strives for, especially in their feature-length debut. Luckily, director Sophy Romvari is able to utilize her own fractured memories to tell a deeply personal story in her devastatingly exceptional debut Blue Heron, now playing in limited release.

In our current entertainment landscape, plot points need to be reiterated, all needs to be revealed, and catharsis must be achieved. Romvari has no intention of giving you any of those answers, because she doesn't have the answers herself. She is looking back on her own experience without the benefit of understanding, because some things aren’t possible to fully comprehend...

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Review: You're Gonna Love "Michael" Despite What I Say About It

By Ben Miller

As I left my screening of Antoine Fuqua's Michael, I heard a woman exclaim, "That was exactly what I wanted!" This is the overall goal of this film. You will learn absolutely nothing about Michael Jackson the man, but you will get every hit song with loud and vibrant performances.

Frankly, Michael is critic-proof. No matter how much I go on about my multitude of problems, you just won't care. It looks like Michael Jackson on screen, using his actual music, inspired by his performances, and completely glosses over any issues that might make anyone uncomfortable. It's the most kid-gloves film I can remember seeing in some time. No chances are taken, nothing is learned... and it's going to make a lot of money.

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Review: "The Drama" is a Nightmare to Watch and Even Worse to Describe

By Ben Miller

I won't lie and say you will absolutely enjoy Kristoffer Borgli's The Drama. In fact, there's a pretty good chance you will either hate it, or feel repulsed having watched it. This film lives in an uncomfortable and awkward world of anxiety which will turn many viewers off.

This film exists in an impossible world to market a film. You can't delve too much into the guts of the story without revealing the main conflict. You also can't spoil the parts of the film that come from that, because it just comes across as confusing. What you get is this vague picture of what the film might be about. The reality is: what if Tim Robinson tried to make a romantic drama, but secretly wanted to make a comedy? That's about what you can expect from The Drama...

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Berlinale: With "Wolfram" Warwick Thornton finally strikes gold

by Elisa Giudici

For a filmmaker long associated with the Australian western, Warwick Thornton has often seemed trapped inside his own obsessions. Film after film has returned to the same harsh landscapes, the same colonial fault lines, the same story of Aboriginal endurance under white domination — sometimes with conviction, often with diminishing returns. With Wolfram, however, something finally coheres. After several disappointments, Thornton delivers his strongest work in years, perhaps decades: a film that feels less like repetition and more like arrival.

The title refers to tungsten, mined with pickaxes, dynamite, and small hands nimble enough to pry metal from rock. Those hands belong to Max and Kid, two Aboriginal kids forced to labor underground for Billy, a white man who oscillates between surrogate father and exploiter...

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