Cannes Diary #4: Narcissism at its finest and worst

by Elisa Giudici

Today is the day in which we explore collateral selections, not that willingly. As mentioned in Cannes Diary #1, this year the Festival organization changed the ticketing system. This ended the long lines (a win) but the downside is that the more hyped movies are harder to get into. Nevertheless, I'm happy to report my experimentation went very well! Truth be told, the Un Certain Regard section can be barely considered a “collateral” section, since it famously offers high-quality selections from soon-to-be major auteurs. The major letdown of the day, was ironically, the only title from the Main Competition I was able to get a ticket to on day four...

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Cannes Diary #2: Sweet cruel nature and Hollywood's top gun

by Elisa Giudici

Did Tom Cruise save Cannes Film Festival on the very first day? Well, he surely helped the 75th edition with old school star power. Thierry Frémaux welcomed Tom Cruise as a king, a savior, or maybe just a big Hollywood player willing to lend all of his charismatic  in order to give a sense of a grandiose overture.

Considering how good reviews are for Top Gun: Maverick, Cannes needed Cruise more than Cruise needed Cannes. Nevertheless, the actor presented himself as an ally of festivals and theatres, a strong advocate of in-person cinematic experiences. In the dedicated Q&A, Cruise said that during the pandemic he reassured even the popcorn guy at his local cinema, who had phoned him to know if Top Gun Maverick could end up on a streaming platform as an exclusive. 'No way!' Wait, the popcorn guy at Cruise’s nearest cinema has his phone number? was my first reaction. Well, Cruise is for sure #TeamGoingToTheTheatre. He claims he goes regularly himself, wearing a cap so he's not recognized...

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Doc Corner: The Hollywood history of 'Cane Fire'

By Glenn Dunks

A history of exploitation unfurls in Anthony Banua-Simon’s Cane Fire like the plot of a Hollywood movie. A deeply empathetic documentary, Cane Fire takes its title from a Lois Weber film, White Heat. That film, Weber’s last from 1934, is considered lost and survives only in images and fragments. As Banua-Simon shows, that is a lot like the non-white population of the island of Kaua’i, where it was filmed, who have been worked until their backs were broken by a series of industries that have crushed and sapped the non-white population like you would strip bare sugar cane.

First it was sugar cane and pineapples, then Hollywood who used locals as extras in bright and colourful productions starring big names like Elvis Presley and John Wayne. Today it’s tourism—an industry that has caused Hawaii more broadly to become the most expensive state to live in, something that is inceasingly out of grasp to many of the population who predominantly work as service staff at hotels and resorts. If you saw The White Lotus, then maybe you could consider this its darker companion piece...

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Review: Haley Lu Richardson and Owen Teague in 'Montana Story'

by Matt St Clair

I've never been to Montana, being more of a metro/suburb-type person, but the luscious scenery always captured onscreen makes it compelling enough to want to explore. The deserted roads, the wide open spaces, the mountains accompanied by clear blue skies can make any Montana-set movie compelling even if the story isn’t. Such is nearly the case with the aptly-titled Montana Story, from the filmmaking duo Scott McGehee and David Siegel (The Deep End, What Maisie Knew, Bee Season). 

The story itself is pretty simple. Two distant half-siblings Erin (Haley Lu Richardson) and Cal (Owen Teague) attempt to reconnect and heal their troubled past as they say goodbye to their dying father...

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Review: Your Grandparents Will Love 'Operation Mincemeat'

By Ben Miller

I loved watching films with my grandfather. We called him Peepaw. It was always something he wanted to do. The problem with Peepaw was a measurement of quality. He always wanted middle-of-the-road stories with little challenges and concise, wrapped-in-a-bow storylines. One of his favorite films was the Kevin Costner snooze-fest Dragonfly. The conventionality and Costner’s charismatic banality was exactly what he wanted. He thought it was a masterpiece.

This doesn’t mean Peepaw only liked terrible movies. He was a huge fan of The Guns of the Navarone or The Great Escape. His generation couldn’t get enough of World War II films. These days, when my brothers and I see a film that hit those points, we would describe them as “Peepaw movies” for their ability to appeal to our late grandfather’s particular sensibilities. John Madden’s Operation Mincemeat is THE Peepaw movie...

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