Cannes at Home: Day 10

by Cláudio Alves

The 2021 Cannes Film Festival is on its last days, and almost all Competition titles have premiered. The latest were new films by Apichatpong Weerasethakul Bruno Dumont and Nabil Ayouch. The Thai director's Memoria has already been met with raves by fans, though, as ever, his work continues to be unfit for all tastes. Some audiences aren't into slow-cinema. Dumont's France, however, got full-on boos, while Ayouch's Casablanca Beats was deemed a possible contender for the Palme d'Or. We'll know the jury's choices on Saturday. For now, let's indulge in cinematic reminiscence as we look back at these artist's previous triumphs. They include a poetic reverie complete with an interspecies sex scene, a funny serial killer movie, and a film that drove irate people to attack its cast…

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Cannes at Home: Day 2

by Cláudio Alves

Today at the Cannes Film Festival, Israeli cineaste Nadav Lapid and French provocateur François Ozon premiered two more films in competition. Both flicks, Ahed's Knee and Everything Went Fine, have received good notices, intensifying international anticipation. Since most of us can't be at Cannes, we shall distract ourselves with past works from these auteurs. Another notable first screening was Todd Haynes' documentary about The Velvet Underground, featured out of competition. In the Cinema à la Plage section, Jerry Schatzberg's Palme d'Or-winning Scarecrow returned to the festival, while Joanna Hogg's The Souvenir screened for the Director's Fortnight in anticipation of its sequel. Considering all this, let's delve into our Cannes at Home alternative program…

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74th Cannes. The Competition Lineup!

by Nathaniel R

The official lineup for the 74th Cannes Film Festival has been announced. It's always an exciting time for cinephiles, doubly so this year since the festival had to be cancelled last season due to COVID-19. This year four actors have multiple films in contention: Tilda Swinton, Charlotte Rampling, Anders Danielsen Lie, and the probably queen of the festival France's Léa Seydoux who has three films in the main competition and another in Un Certain Regard!  We already know that Spike Lee will be presiding over the jury, since he was supposed to do that last year (though we don't know who will be on the jury with him yet).

Cannes has been criticized for years for their lack of gender parity in direction. They're likedly to be criticized again with only 4 of the 24 competition films from female auteurs but that's actually a huge improvement for the world's most famous film festival. As per usual French and English language films dominate though there are actually only three films from the USA in competition this year (Flag Day, The French Dispatch, and Red Rocket) Anyway let's look at the official lineup. More to come since there are other sections, too.

24 Official Competition Films
Who will win the Palme D'Or, Director, and Acting prizes. Care to place any bets?

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The Tree of Life @ 10: The wonder of the movie theater

by Cláudio Alves

As a Portuguese cinephile, the last few weeks have been a weird mixture of happiness for others and ugly jealousy. Looking on social media, I can see international friends returning to movie theaters, fully vaccinated, while I remain at home, not knowing when such privileges will be accessible. I realize this bitterness is wrong, but I can't help it. I miss going to the movies quite terribly. I miss being engulfed by the images projected on the big screen and feeling a wall of sound crash over my head like a tidal wave. However, unlike other filmgoers, I don't care too much about the communal aspect of the experience (with the exception of film festivals).

As a way of exorcising these demons and explaining the yearning, let me describe one of the most memorable filmgoing experiences I can remember. It happened around a decade ago, upon The Tree of Life's release…

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Under the Sun of Satan: Did it deserve the boos?

by Cláudio Alves

Films being booed at Cannes has stopped being newsworthy. Over the years, countless pictures were received by a chorus of boos when they bowed at the Croisette, either because of their daring qualities or the transgressive nature of their subject matters. Rare is the true mediocrity that earns boos. For those unhappy films, indifference is a more common laurel than a crown of controversy. One of the most famous examples of a film being publicly reviled at Canne was in the 1987 edition when Maurice Pialat's Under the Sun of Satan was unanimously voted as the Palme d'Or winner only to be lambasted on the spot by a furious audience.

Accepting his award amid the vitriolic chaos, the first French director to win that honor since 1966, spoke with his usual combativeness...

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