Cannes Diary: Jacques Audiard's stunning 'Emilia Perez'

by Elisa Giudici

How does Jacques Audiard do it? Emilia Pérez would be an extraordinary film if it were directed by a 35-year-old filmmaker who had just matured and created a groundbreaking movie destined to consecrate his career. Yet Audiard is 72 years old, already has a Palme d'Or at home, and a portfolio of excellent films. He doesn't need to reinvent himself or take many risks, having reached an age and fame where some simply coast along, continuing to indulge their existing obsessions.

Instead, Audiard delivers a film that, on paper, should be disastrous and unworkable...

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Cannes at Home: Day 8 – The Beautiful People

by Cláudio Alves

Sean Baker's ANORA looks like a top contender for the Palme d'Or.

After much divisiveness in the Main Competition, the Cannes critics finally have something to fawn over in collective uproar. Sean Baker's Anora was a hit with press and audiences alike, standing out in a selection of otherwise derided titles. Indeed, Christophe Honoré's Marcello Mio met critical rejection on the same day of Grand Tour's world premiere, while Paolo Sorrentino's Parthenope inspired another wave of dissenting opinions. Some love it, while many others decry the Neapolitan director's obsession with objectified female bodies, beauty above everything else, even cinematic meaning. Considering his last few projects, this shouldn't come as a surprise.

That shall be the theme of this Cannes at Home program—the beautiful people. Let's explore the siren calls of Baker's Tangerine, Honoré's The Beautiful Person, and Sorrentino's Oscar-winning The Great Beauty…

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Drag Race RuCap: Season Sixteen's “Grand Finale”

Nick Taylor and Cláudio Alves watch and recap RuPaul’s Drag Race season sixteen. This week, it’s time for the grand finale…

Look at those ponytails! Sasha Colby's impact is immeasurable.

CLÁUDIO: Better late than never, amirite? Well, even if I’m not, please pretend. 

Many days have passed since season sixteen drew to a close, with Taiwan goddess Nymphia Wind crowned America’s next drag superstar. It was a conclusion I wished for but wasn’t expecting, thinking Philly had the win secured up until those final minutes. After all, nothing in the season’s edit positioned the Banana Buddha as a threat, mostly ignoring her to the point she was invisible for a couple of episodes in the middle. On the other hand, Sapphira had winner energy from the go, a notion bolstered by the judges’ unvarying praise and four wins to her name. It’s easy to see why Miss Cristál’s stans feel a bit flabbergasted, though I wish some of them weren’t so quick to invalidate RuPaul’s chosen champion.

NICK: It’s still a shock! A pleasant one, but an odd one, and one I can understand folks feeling snaked by. As gaggy as Nymphia’s finale lip sync was - and I do think she won that battle - Sapphira gave a winning performance too! She was winning the whole episode, the whole season, until she didn’t. . . .

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Review: "Challengers" throbs with desire

by Cláudio Alves

American mainstream cinema has rarely felt as sexless as it does today. Even in the period between the 1934 implementation of the Hays Code and its demise, screens felt roused with desire. In some ways, the prohibition of overt sexuality supercharged movies with erotic potential, like a pot of boiling water that heats up faster once you put a lid on it. But nowadays, such qualities feel like artifacts of a bygone era. That's not to say movies suddenly lack objects of desire. Instead, as RS Benedict put it in his essay on superhero films, "everyone is beautiful and no one is horny."  But here comes Luca Guadagnino to the rescue, that lustful Italian whose films beckon a return to hedonistic cinema even when produced within Hollywood. Challengers is a prime example of that…

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Drag Race RuCap: “Reunited - LipSync LaLaPaRuZa Smackdown”

Nick Taylor and Cláudio Alves are watching and recapping RuPaul’s Drag Race season sixteen. This week, it’s time for episode fifteen…

This week, Megami pulls a Silky and a star is born.

CLÁUDIO: After weeks of complaining about the season’s declining quality, the Drag Race producers shut me right up. This spin on a reunion episode is the best of the year, a super-charged queer Super Bowl of lipsyncing that serves as a respite before next week’s finale. Most of the girls brought their A-game, fighting for their Ru-demption with everything they got, and even the losers seemed to have a good time. Well, most of them. More important, still, was how the hour felt formed around the arc of one particular queen, subverting folks’ expectations both among the audience and the contenders themselves. To paraphrase Mother Jinkx, anyone saying Megami isn’t a star after this episode is so full of shit the toilet’s jealous.

NICK: As far as sports analogies go, I feel more partial to Sapphira calling this the gay Kentucky Derby, though perhaps I was swept up by the fantasy her gigantic hat inspired. But this was a total joy from the first second to the last. Megami’s superstar ascendancy is a Rudemption for the history books, bolstered in every way by how tough the competition was. I loved this episode, and I hope we get this format again in future seasons. . . .

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