Glenn Heath Jr.
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CANNES 2012: Leos Carax's HOLY MOTORS
Where does one begin with Leos Carax’s insane "Holy Motors"? Maybe its incredible central performance(s) by Denis Lavant, who literally transforms into a different character in nearly every other scene, each one stranger than the next? Or perhaps its stark raving mad narrative that bends so far into...
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CANNES 2012: Abbas Kiarostami's LIKE SOMEONE IN LOVE
Denial and delusion ripple the pristine visual surface of "Like Someone in Love," Abbas Kiarostami’s masterful critique of social and emotional formality, set in Japan.
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CANNES 2012: Hong Sangsoo's IN ANOTHER COUNTRY
The screenwriting process produces a kind of sandbox cinema in Hong Sang-soo’s "In Another Country," the Korean director’s latest jazz riff on human interconnection. The film’s beach side location may be consistent with earlier films, but its unique characterizations traverse freely outside the logi...
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Welcome to the Cannes Film Festival!
Editor's Note: Press Play has two critics covering the Cannes Film Festival this year. Simon Abrams and Glenn Heath Jr. are tag-teaming their way through the most anticipated collection of screenings in the film industry. This is your ticket to Cannes. Enjoy!
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CANNES 2012: John Hillcoat's LAWLESS
This is the American outback in all its bloody glory.
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CANNES 2012: Matteo Garrone's REALITY
The classic fairy tale is an artificial creation in Matteo Garrone’s "Reality," something wedding planners and television producers manipulate to create the best possible pomp and circumstance product for their Pavlovian audiences.
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CANNES 2012: Jacques Audiard's RUST AND BONE
Jacques Audiard only knows how to pummel us. The French director of "The Beat That My Heart Skipped" and "A Prophet" wouldn’t know a subtle musical cue or composition if it were staring him in the face.
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CANNES 2012: Yousry Nasrallah's AFTER THE BATTLE
Governments are inherently evil. Commoners are redeemable imbeciles. Academics are clueless do-gooders. These cookie-cutter generalizations about character motivation and social institutions define Yousry Nasrallah’s "After the Battle."
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