Cannes Diary 03: Our first Palme d'Or contender "Sound of Falling"

by Elisa Guidici

Mascha Schilinski's Sound of Falling is only the first film in competition but it's already a strong contender for the Palme d'Or, at least according to initial press reactions. These reactions, however, were divided on which directorial comparison best captured the German film's unsettling power and evocative atmosphere. Some critics have invoked Haneke – indeed, it’s hard not to recall The White Ribbon when faced with a narrative that unearths the unknowable, often dark, elements lurking even within children. Others point to Bergman, an almost inevitable comparison given the screenplay's skill in excavating the lives of four generations of women in a German farmhouse. It delves beneath their facade to touch upon a harsh, undiluted humanity where good and evil, innocence and cruelty, inextricably merge and overlap.

My own mind, however, drifted to Sofia Coppola's The Virgin Suicides, though Angelika, Erika, Alma, and Lenka represent a far rougher and utterly unsentimental iteration of young womanhood...

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Cannes at Home: We're Back!

by Cláudio Alves

Could SOUND OF FALLING be the first German film to win the Palme since THE WHITE RIBBON?

As the title says, we're back! Well, I'm back, to be precise. Apologies for my absence in the last few weeks, but I've been busy, here in Portugal, covering the IndieLisboa Film Festival. Indeed, I might still write something about the many great works I caught there for The Film Experience readership. But, in the meantime, my attention shall be on Cannes and batting away the cinephile FOMO that befalls those of us who're staying home, watching from afar as some of the year's most anticipated films make their bow at the Croisette. Nick Taylor is doing some anniversary posting while Elisa Giudici is reporting from the festivities, so I'll be doing my usual schtick and explore past works from this edition's Official Competition auteurs. 

A few days of competition screenings have passed. Still, it all started with German director Mascha Schilinski's Sound of Falling, which received sterling reviews from international critics and is already considered a contender for end-of-the-festival honors. Sergei Loznitsa's Two Prosecutors marks a more unheralded return to fiction from the Ukrainian filmmaker. Let's look at their triumphs from years past…

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Cannes Diary 02: On the side of Tom Cruise

by Elisa Giudici

From a revealing and free-flowing conversation at Cannes today, the impression I got of Christopher McQuarrie,the acclaimed writer-director and creative force behind many of Tom Cruise's biggest hits, was of a compelling and fascinating personality. What emerged was a portrait of a man unflinchingly candid, at times almost brutal in detailing his own perceived limitations and failures, who also spoke with deep loyalty about Cruise, the figure he credits as the enabler of his remarkable career.

Here are 8 key insights from his remarks:

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Cannes Diary 01: Jury Duty

by Elisa Giudici

Jury president Juliette Binoche. Photo © Elisa Giudici

A tense, and occasionally frosty, atmosphere marked the opening press conference of the 78th Cannes Film Festival. Jury members, especially President Juliette Binoche, faced numerous political questions, including sensitive topics like potential film tariffs, Donald Trump, and the ongoing events in Gaza.

In a departure from some past years, however, the jurors appeared more reserved and less willing to engage extensively on all topics. Below are the most relevant highlights from this initial conference, as well as some photos I shot, which provide an early look at the lauded artists preparing to watch all the films in competition and decide the Palme d'Or...

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Robert Altman @ 100: Susannah York was Almost There

by Cláudio Alves

For the second part of the Robert Altman tribute, consider a crossover with the Almost There series. Throughout his career, the director proved to be one of the best at working with actors within the New Hollywood state of play, whether his movies were tightly focused psychodramas or the more sprawling fare that we tend to associate with Altman. It's no surprise, then, that many of his performers received some buzz, often figuring in the awards season, whether or not they got an Oscar nomination at the end of it all. Today, let's look at Susannah York in the second of Altman's portraits of women on the verge of madness. After That Cold Day in the Park, there was 1972's Images…

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