By Indiewire | Indiewire May 30, 2013 at 11:32AM
The romance that claimed the Palme d'Or is also a hit with critics.
"I know that it would be nice to have some drama," Steven Spielberg said at the press conference with his fellow jurors at the Cannes Film Festival on Sunday. However, according to the jury's esteemed president, nobody "bumped heads about the films were privileged to see here."
The festival's leanest section, Critics' Week, programs first and second films from emerging directors. This year offered a strong panorama of titles by young filmmakers that were quite different from the films in Official Selection.
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 feature.
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.
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.
Gray's fifth directorial effort is a conflicting experience admirable
and powerfully executed in parts, cold and meandering in others.
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.
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
Despite 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," 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.
After 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.
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.
Despite a strong cast and shadowy mysteries that deepen the plot, "The Bastards" creates the sour impression of a half-formed work.
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.
The 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.
Legendary cult director Alejandro Jodorowsky returns to the filmmaking scene after over two decades without losing any of his brazenly surreal panache.
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.
Arriving 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 characters' emotions.
Two 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.
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.
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."
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.