Cannes at Home: Day 3 – A Cinema of Violence

by Cláudio Alves

The third day of the festival, second day of competition screeners, brought with it our first big Cannes stinker of the year, as well as a potential prize magnet. Starting with the catastrophe, Jean-Stéphane Sauvaire's Black Flies, which stars Sean Penn, incurred the wrath of many a critic. In more positive news, Chinese documentarian Wang Bing presented the first part of a tetralogy project (Youth or Spring are the alternate English language titles), a three-hour-plus epic of observational cinema concerning the lives of young laborers in China's garment industry. Could this be a significant contender for end-of-the-festival honors?

For the Cannes at Home project, let's consider how these two auteurs have dedicated much of their careers to depicting violence – Sauvaire the brutality of war and combat, Wang the horrors of exploitation. With that in mind, our films for today (both available to stream) are Johnny Mad Dog and Bitter Money…

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Cannes at Home: Day 2 – Of Mothers and their Children

by Cláudio Alves

The second day of Cannes saw the start of the competition screenings, with Hirokazu Kore-eda and Catherine Corsini leading the pack. Though The Film Experience's writer at the festival, Elisa Giudici, wasn't convinced by the Japanese master's latest effort, Monster has been met with critical support. Nothing comparable to the reception of his Palme d'Or-winning Shoplifters, but still encouraging. As for Corsini, her Homecoming has caused controversy because of a sex scene featuring underage actors, which the director admits she'd approach differently in the future, citing the need for intimacy coaches. A masturbation scene was also eventually cut from the film after it cost production funding from France's National Cinema Centre.

Looking back at these auteur's past works, let's choose to remember less divisive fare. In both cases, familial bonds are at the forefront, tales of mothers and their children lost in dysfunction. They are Kore-eda's Nobody Knows, and Corsini's An Impossible Love…

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Cannes at Home: Day 1 – When "Gatsby "opened the festival...

by Cláudio Alves

The 76th edition of the Cannes Film Festival has begun in a flurry of controversy. Jeanne Du Barry, Johnny Depp's return to the silver screen after a much-publicized trial, was selected to open the festivities, prompting reporters to swarm the Croisette with polemic on their minds. The situation wasn't helped by incidents earlier this year, when director Maïwenn spat on a journalist, making their film about much more than just Louis XV's last mistress. In giving such attention to the kerfuffle, we've all played into Thierry Frémaux's hands. Regardless of the picture's quality, everybody's eyes are on Cannes, whether looking for a redemption story, an immoral scandal, or secret fashion messages on the red carpet.

Then again, the Cannes opener is seldom an example of masterpiece cinema capable of accruing wide acclaim. More often than not, the titles blessed – or is it burdened? – with this honor tend to be mixed bags with big names attached, glossy stuff ready to act as attention magnets. Such was the case ten years ago when Baz Luhrmann's The Great Gatsby opened the festivities to various degrees of critical hostility. Looking back, one is enticed by the possibility of reappraisal…

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Cannes at Home: Days 10 & 11 – The End Is Upon Us

by Cláudio Alves

The last days of the 75th Cannes Film Festival saw the premiere of many buzzy titles, including some that were declared Palme d'Or frontrunners on the spot. Albert Serra celebrates his first stint in the Main Competition with Pacification, a film that might not be for everyone but will undoubtedly satisfy the director's fans. Hirokazu Kore-eda returns after Shoplifters with another found-family crowd-pleaser, Broker. Lukas Dhont's Close reduced many to tears, but I'm not convinced. His debut was similarly acclaimed in Cannes, only to receive much-deserved backlash when seen by wider audiences. Kelly Reichardt seems to have delivered a low-key marvel with the Portland-set Showing Up, starring frequent collaborator Michelle Williams. Finally, Léonor Serraille closed the competition screenings with her sophomore feature, Mother and Son.

Just hours before Vincent Lindon's jury announces its choices, the Cannes at Home miniseries comes to an end with Serra's The Death of Louis XIV, Kore-eda's After Life, Dhont's Girl, Reichardt's Wendy and Lucy, and Serraille's Jeune Femme…

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Cannes at Home: Days 8 & 9 – Women in Red, the War on Drugs & French Colonialism

by Cláudio Alves

The 75th Cannes Film Festival is almost over! If there's any hope of finishing Cannes at Home before the closing ceremony, it's critical to pick up speed. So, here go two days' worth of auteurs in one go. 

The Dardennes showed their latest, Tori and Lokita, to some acclaim. However, after The Unknown Girl and Young Ahmed, I'm skeptical about the Belgian duo's tackling of immigrant stories. Mario Martone also returned to the competition, and his Nostalgia could see Perfrancesco Favino winning the festival's Best Actor trophy. In contrast, Saeed Roustayi is competing for the Palme for the first time with Leila's Brothers. All that being said, the big story from these latest festival days was surely Claire Denis' Stars at Noon. Most critics seem to hate it – some even jokingly calling for the director's retirement – while a scattering of ardent fans provides a contrarian takes. For sure, hers seems to be the most divisive film at the Croisette.

Today's Cannes at Home selection includes the Dardennes' first Palme d'Or honoree Rosetta, Martone's L'Amore Molesto, Roustayi's acclaimed Just 6.5, and Denis' debut feature Chocolat…

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