From the Palme d’Or winning coming of age epic “Blue is the Warmest Color” to Steven Soderbergh’s star-studded Liberace biopic “Behind the Candelabra” to James Franco’s most ambitious directorial effort to date, Indiewire was on the scene at the 66th Festival de Cannes to review the bulk of the most anticipated titles to premiere on La Croisette. Below find all the reviews published over the course of the festival.
Lesbian Coming-of-Age Epic ‘Blue Is the Warmest Color’ Offers Honest, Sexually Frank Insights
The first sex scene in “Blue Is the Warmest Color,” Abdellatif
Kechiche’s French coming-of-age drama about a young lesbian couple,
lasts longer than any other sequence in the movie. To dwell on its
length, however, shortchanges its relevance to this three-hour-long
With ‘Nebraska,’ Has Alexander Payne Gone Soft?
The first project that the filmmaker didn’t write himself, “Nebraska”
lacks the vulgar edge typically at the center of his scenarios. It’s a
sad, thoughtful depiction of midwestern eccentrics regretting the past
and growing bored of the present, ideas that Payne regards with gentle
humor and pathos but also something of a shrug.
How ‘Only God Forgives’ Suggests Ryan Gosling’s Schtick Has Worn Thin
Unfortunately, by re-teaming with Refn for the far less inventive genre
exercise “Only God Forgives,” Gosling has tumbled into the exact
trappings that “Drive” smartly assailed.
James Gray’s Marion Cotillard-Starring Period Drama ‘The Immigrant’ Is the Most Divisive Film in Cannes Competition
Gray’s fifth directorial effort is a conflicting experience admirable
and powerfully executed in parts, cold and meandering in others.
James Franco’s Ambitious Directorial Effort ‘As I Lay Dying’ is Dragged Down by Franco’s Own Performance
The actors are generally surprisingly solid, with one conspicuous
exception: Franco himself, who might have been too busy on set to
concentrate on his work as an actor and/or to direct himself properly.
Robert Redford’s Strangest Role of His Career Is In J.C. Chandor’s ‘All Is Lost’
While simplistic to describe, however, the movie is an impressively
realized work of minimalist storytelling that foregrounds Redford’s
physicality more than any other role in his celebrated career. His
performance defines the movie to an almost shockingly experimental
Martian Zombies and Liev Schreiber Can’t Quite Salvage ‘Last Days on Mars’
its impressive visuals and a solid first act, ‘Last Days on Mars’
devolves into a stupid and uninspired zombie flick that ruin’s the
movie’s initial promise.
‘Behind the Candelabra’ is Steven Soderbergh’s Glamorous, Garish and Great Goodbye (For Now)
“Behind the Candelabra,” which premiered at Cannes today before heading
to HBO on Sunday, May 26th at 9pm, is Steven Soderbergh’s virtuoso swan
song to filmmaking (at least for now), his final feature before stopping
to focus on his painting.
At Nearly 4 Hours, Claude Lanzmann’s ‘The Last of the Unjust’ Adds a Valuable Chapter to ‘Shoah’
his epic 1985 Holocaust documentary “Shoah,” filmmaker Claude Lanzmann
shows that he is still very much capable of mining engrossing material
about the atrocity, with his latest “The Last of the Unjust” covering
the Czech ghetto Therienstadt.
Killer Dance Movies and Crime In Simple, Formulaic ‘Grisgris’
The movie has a lot less on its mind and makes no drastic attempts to
overreach. A straightforward tale of overcoming personal and
professional challenges with no fancy dressing, “Grigris” goes down easy
but offers nothing remotely fresh.
Suicide and Sexual Abuse Abound in Claire Denis’ Frustratingly Muddled ‘Bastards’
Despite a strong cast and shadowy mysteries that deepen the plot, “The
Bastards” creates the sour impression of a half-formed work.
Family Problems Dominate In Clio Barnard’s ‘The Selfish Giant’ And Kore-eda’s ‘Like Father Like Son,’ But ‘Borgman’ Makes Them Scary
Movies for families tend to embrace the value of sticking together.
However, movies about families — at least those with a certain amount
of gall — assail that very same principle.
Why ‘Inside Llewyn Davis’ Isn’t the Minor Coen Bros. Movie It Looks Like
Coen Brothers surprised and impressed with “Inside Llewyn Davis,” their
1960’s-set tale of a fledgling folk musician thanks to a revelatory
performance by Oscar Isaac in the title role as well as a catchy score
by T. Bone Burnett.
‘The Dance of Reality,’ Alejandro Jodorowsky’s First Film in 23 years, is a Return to Form
cult director Alejandro Jodorowsky returns to the filmmaking scene
after over two decades without losing any of his brazenly surreal
Roman Polanski’s Rarely Seen Formula 1 Racing Doc ‘Weekend of a Champion’ Is Restored and Updated at Cannes
Rarely screened around the world, “Weekend of a Champion” was praised by
racing enthusiasts but otherwise remained a near-mythological sidenote
to the more significant credits Polanski accrued during that major
period of his career.
How Asghar Farhadi’s ‘The Past’ Confirms His Mastery of Human Behavior
on the heels of his Oscar-winning 2011 drama “A Separation,” “The Past”
sees Iranian director Asghar Farhadi leaving his native country for
France, while still maintaining his steadfast devotion to his
Teens Living Dangerously in Sofia Coppola’s “The Bling Ring” and Francois Ozon’s “Young and Beautiful”
films explore overeager youth, both yielding interesting results: Sofia
Coppola’s depiction of teens robbing celebrity homes in the
real-life-inspired “The Bling Ring,” and Francois Ozon’s “Young and
Beautiful,” which portrays a young girl who becomes a prostitute online.
Forget ‘The Great Gatsby,’ The Best 3D Movies at Cannes Is Directed By Jean-Luc Godard
A jumbled semiotics class on acid, the 3D anthology film “3X3D” is the
second omnibus project produced by the European Capital of Culture
(following last year’s “Centro Historico”), but it stands alone as a
uniquely strange experience.
With ‘Only Lovers Left Alive,’ Jim Jarmusch Caps a Great Year For American Auteurs in Cannes
If the fashionable bloodsuckers of the “Twilight” movies traded their
frantic stares for expressions of ennui, they might have something in
common with Adam (Tom Hiddleston) and Eve (Tilda Swinton), the retro
cool vampires at the heart of Jim Jarmusch’s “Only Lovers Left Alive.”
The Highlights From Un Certain Regard
It was a big year for American films in competition at the Cannes Film
Festival, but in the neighboring Un Certain Regard section, they came
and went with a whimper. Perhaps that’s because they simply played it
too safe in a section filled with daring creativity. Literally
translated as “Of a Certain Regard,” this spillover section carries the
whiff of snobbery (“it’s good, but not good enough for competition”),
but also makes room for a broader spectrum of international cinema than
the 20 competition slots provide. The American cinema in Un Certain
Regard suffered by comparison to far more adventurous titles.