Cannes at Home: Day 11 – A Tale of Two Realisms

by Cláudio Alves

Well, it's over. Another festival ends, and so does another edition of the Cannes at Home series. I've watched many a great film this past week and hope you have enjoyed the ride. To finish things off, it's time to consider the last two filmmakers to present their latest works at the Croisette. Alice Rohrwacher dazzled away with her La Chimera, starring a scruffy-looking Italian-speaking Josh O'Connor, and Ken Loach's The Old Oak proved as divisive as all his late-career films have been. 

This last Cannes at Home dispatch looks at these auteurs' greatest pictures, titles that crystalize the two distinct forms of realism each work within. There's Rohrwacher's magical spin on Italian neorealism with Happy as Lazzaro and Ken Loach's perpetuation of the kitchen-sink tradition of British social realism in Kes…

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Review: Virginie Efira is miraculous in "Other People's Children"

by Cláudio Alves

Watching Rebecca Zlotowski's Other People's Children, I was reminded of a discussion I once had with a professor. Despite the class focusing on theater, we talked about cinema and what stories deserve to have the camera pointed at them. In short, we debated the merits of dramatizing ordinary people. For me, there's plenty of interest in exploring individuals whose lives are entirely un-dramatic, maybe even anti-dramatic. Great art can be created by investigating the complexities of the simplest-seeming experiences. Just because something appears anodyne or common doesn't mean there aren't beguiling specificities or that we should be above it. My professor disagreed.

At the time, a great deal of the conversation centered around the films of Chantal Akerman, but Zlotowski's latest effort feels like an up-to-date if more conventional, example. Indeed, I imagine my former pedagogue would hate the thing if he ever set eyes on Other People's Children…

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Cláudio's 2022 Top Ten

by Cláudio Alves

While the Academy mulls over its nominees and decides on winners, the awards season reaches its last phase. Campaigns are at their apex, precursors shake the race, and speeches are aplenty. So, here at The Film Experience, it's time to share personal favorites, getting closure on the cinematic year as we do so. Indeed, Nathaniel's Film Bitch Awards are on its way, with some categories already announced – go check them out. In the meantime, I'm here to share my own top ten, which runs the gamut from apocalyptic gore to the year's best performance, from Jesus-y donkeys to Catholic guilt with a side of gay longing...

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Through Her Lens (Season Finale): The 83rd Oscars + 2010s RECAP

A series by Juan Carlos Ojano. Introduction / Explanation

After Kathryn Bigelow’s historic Director win at the previous Oscars for The Hurt Locker, the 2010 roster of nominees returned to the usual all-male lineup. The eventual five were pretty much unquestioned. David Fincher was the early frontrunner for Facebook drama The Social Network. Darren Aronofsky and David O. Russell received their first nominations in this category for the psychological horror Black Swan and the sports drama The Fighter, respectively. The inclusion of the Coen Brothers was considered a semi-surprise for the late-breaking Western True Grit. Ultimately, the winner was Tom Hooper for the Best Picture-winning historical drama The King’s Speech. 

Given that context, it is still a bit discouraging to see the return to normal especially with two female-directed films also up for Best Picture: Lisa Cholodenko’s dramedy The Kids are All Right and Debra Granik’s mystery drama Winter’s Bone. Both films received four nominations, though neither secured any wins. Women were also largely absent from the Best Director conversation. Out of the 248 films included in the Reminder List of Eligible Films in 2010 (83rd Academy Awards), only 24 (9.7%) were directed/co-directed by women...

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Chart Updates: Best Picture... and how much diversity will we get in Best Director?

by Nathaniel R

Sarah Polley on the set of "Women Talking". Photographed by Michael Gibson for Orion Releasing

So what's going to get a Best Picture and who will get a Best Director nomination? The possible combinations of 10 and 5 contenders, respectively, are many. While Best Picture could well find a mix that doesn't upset too many people (10 is a lot to work with) Best Director will likely be more fraught. So let's talk Best Director first...

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