Cannes at Home: Days 5 & 6 – Stories of Women

by Cláudio Alves

The festival is past its midpoint, and it's looking like this'll be a banner year. At least, that's the general tenor of the international coverage. The films of the moment offer a wide variety of cinematic approaches. Ramata-Toulaye Sy's debut feature Banel & Adama is being lauded for its rich visuals, while many have declared Todd Hayes's May December as a return to form with juicy acting across the board. And yet, one feels that the Cannes Best Actress frontrunner is neither Portman nor Moore, but Sandra Hüller, who dazzled viewers in Justine Triet's Anatomy of a Fall. Finally, Karim Aïnouz's first English-language feature Firebrand (starring Alicia Vikander and Jude Law) is an outlier earning harsh reviews.

For this Cannes at Home chapter, we consider Our Lady of the Nile which is not directed by Sy, but she co-wrote the script with the director. Then, let's explore Haynes' first Moore movie Safe, Triet's main competition debut Sibyl, and Aïnouz's sensual Love for Sale. They all tell stories about the feminine experience, from imperiled schoolgirls to sexually liberated women…

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Doc Corner: Karim Ainouz's 'Mariner of the Mountains'

By Glenn Dunks

The journey from Africa to Europe has been seen many times on screen in both documentary and fiction. Mariner of the Mountains, now available on streaming after screening at last year's Cannes Film Festival, begins with a journey in the opposite direction. Far less common and shown here being committed in relative luxury compared to the dangerous refugee boats often equated with cross-continental Mediterranean journeys.

Director Karim Aïnouz is familiar to some audiences for his films like Invisible Life and Futuro Beach that span continents and the way we often go looking for something somewhere else and don’t find it. Or struggle to. Or aren’t sure what it was they were looking for at all...

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Cannes Diary #5: Road trips through cinema

Do you know "Raul"? I don't and I never cease to be fascinated by this bizzarre Cannes Festival tradition. Sometimes, just before a press screening, someone screams "Raouuul!". No one seems to know why or when this phenomenon started, but the most seasoned journalists I know told me that the Raoul tradition started many, many years ago. Maybe I can just google it and find an answer but every person I ask about it has a different theory, so I'm enjoying the mystery. Anyway, on to today's three films...

Mariner of the Mountains  (Karim Aïnouz)
SPECIAL SCREENINGS

I took the ticket for the latest by the Brazilian director on a whim, because I woke up early that day and I really liked his previous feature, Invisible Life. I had read nothing about this one since sometimes I like to go in blindfolded. At first I was so confused by the form, a kind of infinite collage of short videos recorded with a smartphone and photos taken by Aïnouz himself during his first journey to Algeria...

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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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Don't Miss "Invisible Life"

by Cláudio Alves

After a limited release in US theaters, Karim Aïnouz's Invisible Life is now available to stream on Amazon Prime. The film was Brazil's submission for last year's Best International Feature Oscar and, although the Academy chose to overlook its merits, that doesn't mean the picture is undeserving of our attention. This tropical melodrama is one of 2019's most ravishing cinematic experiences, a saturated explosion of deep feeling and chromatic excess, as beautiful as it is devastating. Harkening back to the glory days of Old Hollywood's women's pictures, Invisible Life is like a cocktail made of equal parts Douglas Sirk and Black Orpheus, a hint of Fassbinder adding an abrasive zing to the recipe…

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