The Danish Girl
The Danish Girl lacks an immediacy and vibrancy, as well as a genuine sense of emotional connection.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An interview with the directors of the terrifying "Goodnight Mommy," Severin Fiala and Veronika Franz.
A preview of the 2015 EU Film Festival at the Siskel Film Center in Chicago.
An exhaustive list of Top 10s by RogerEbert.com contributors.
When: Through Oct. 25
"The Life and Death of a Porno Gang" is available on DVD and Blu-ray from Synapse films.
Cinema, that traditionally aristocratic medium, has always found unlikely ways to commiserate with the working man and the poor. In America, King Vidor's "The Crowd" showed us a man trapped on the treadmill of lower middle class survival in the big city. A few years later, Frank Borzage's "Man's Castle" gave us Spencer Tracy as a street hustler who learns that Depression-era struggle is no excuse to turn his back on a chance at family life. It's the same in every country, every era: Societies that place the bulk of their economic burden upon the low man's shoulders often send that man scrambling in the opposite direction of happiness, in the name of happiness. A random spin of the world cinema wheel will turn up great directors whose finest work touches on this phenomenon: Ken Loach, Ousmane Sembene, the Dardenne brothers, Ulrich Seidl, the Italian neorealists, the blacklisted Americans, and so on.
By accident or by design, today's films premiering at Cannes, whether in competition, in the "A Certain Regard" section, or in special screenings out of competition, revolved around relationships, good, bad, or worse. Whether the bond is with a woman who has lost the will to live, an Orca whale (both seen in "Rust and Bone"), a cheating wife-beater ("Mystery"), a ghost ("Mekong Hotel"), or a male prostitute ("Paradise: Love"), things don't always turn out for the best.
French director Jacques Audiard has enjoyed a high profile since his "A Prophet" made a splash at Cannes in 2009, winning the Grand Jury Prize. It seemed like just another prison movie to me, but others loved it. The film went on to win an Oscar nomination for Best Foreign Film and a host of festival prizes. Audiard is back with "Rust and Bone," a star vehicle for Oscar-winning Marion Cotillard ("La Vie en Rose") and Belgian actor Matthias Schoenaerts, who came to new visibility by starring in this year's Oscar-nominated "Bullhead."
I was especially looking forward to "Rust and Bone" because Schoenarts had given such a powerful performance in "Bullhead," for which he had bulked up ala De Niro for his portrayal of a violent man whose life is defined by his steroid use. In "Rust and Bone" he's Ali, an unemployed guy who moves to the seaside town of Antibes (just down the road from Cannes, actually) to camp out in his married sister's garage after he's suddenly saddled with the custody of his five-year-old son. A former amateur boxer, he gets a job as a nightclub bouncer.
In just a week the French Riviera will come alive with the hoopla of the 65th Cannes International Film Festival, running this year from May 16 through 27. Despite the international proliferation of film festivals, like it or not, Cannes remains the biggest, most hyped, glitziest and most diverse event the world of film has to offer, the envy of every other festival.
As if the world at large also trembled at the import of the approaching festivities, previous Cannes festivals have been prefaced by volcanic eruptions, hurricane-force storms, national strikes, and bomb threats. What can we expect this year, when the festival officially becomes a senior citizen? Don't look for any rocking chairs along the Croisette, for one thing. Judging by the lineup of major directors represented in the Competition and other official sections, it's more likely that major revelations will be rocking the Palais. And if it's like other years, we can expect the festival will manage to rock a headline-grabbing major controversy or two as well.
For the fourth year in a row, Cannes will open with an American production, Wes Anderson's "Moonrise Kingdom," guaranteeing that name stars including Bruce Willis, Bill Murray, Edward Norton, Frances McDormand, and Tilda Swinton will be gracing the red carpet on Wednesday, May 16 for a glamorous kick-off. Judging by the trailer available online, the real stars may be the large cast of kids in a comedy/drama that looks to be strong on surreal wackiness.
Even a quick glance at the list of films in competition yields an eye-popping number of famous names, including David Cronenberg (Canada), Michael Haneke (Austria), Abbas Kiarostami (Iran), Ken Loach (UK), Cristian Mungiu (Romania), Alain Resnais France), Carlos Reygadas (Mexico), Walter Salles (Brazil), and many more. This competition could be a veritable Olympics of the cinema gods...or not, as sometimes happen, because even world-class filmmakers and certified masters can disappoint.