Chaz Ebert's second video dispatch from the 2021 Cannes Film Festival covers the jury press conference and the opening night premiere of Leos Carax's "Annette."
An interview with Edgar Wright and musical duo Ron and Russell Mael about their new documentary celebrating 50 years of Sparks.
A preview of the next seven months of musicals hitting theaters and streaming services in 2021.
Patrick Z. McGavin writes about "Shoah," which was just issued on Blu-ray by Criterion in a thorough package that makes the film's unique storytelling more transparent to the layperson. "Lanzmann has said the form and construction is the key to understanding his film," McGavin writes, "and with this new version, that process has never been more intuitive."
"Only God Forgives" commits the unforgivable sin of being boring, "Muhammad Ali's Greatest Fight" is about old white men arguing about race, and "Blue is the Warmest Color" takes its time to follow the transition from uncertain teenager to knowing adult.
But what really matters is the Muriels. You know, that time-honored annual movie award that is not named after Bette Davis's Uncle Oscar, but after co-founder Paul Clark's guinea pig. Throughout the month of February (the 6th through the 23rd), the winners have been announced, as you know because you've been regularly clicking on the Muriels link right here on Scanners. Anyway, you know what "Argo" can do; the Muriel voters, on the other hand, chose to give the year's top prize to what, for me, was obviously the most rewarding movie experience of the year: Leos Carax's "Holy Motors."
Bolstered by Akira Ifukube's trudging "Gojira" theme and the shorthand it affords, on two separate filmic occasions director Leos Carax chose to pair it with a city-scrolling vista, and in doing so reference his past work for the first time. Homage and visual motifs have always earmarked the enigmatic auteur's films, namely in the unstable romances of "Boy Meets Girl" and "Les Amants de Pont Neuf," but within his two most recent efforts -- a section of the 2008 triptych "Tokyo!" and his 2012 vexing "Holy Motors" -- he centers this rare repetition on one character that is not so much a reprisal as it is an emotional transformation.
Marie writes: The countdown to Christmas officially begins the day after Halloween, which this year lands on a Wednesday. Come Thursday morning, the shelves will be bare of witches, goblins and ghosts; with snowmen, scented candles and dollar store angel figurines taking their place. That being the case, I thought it better to start celebrating early so we can milk the joy of Halloween for a whole week as opposed to biding adieu to the Great Pumpkin so soon after meeting up again...
Haneke, Riva, Trintignant
• Chaz Ebert at Cannes
Who will win the Palme D'Or? I expect top prizes for Michael Haneke for his film, "Amour," with Jean-Louis Trintignant and Emmanuelle Riva, but I am terrible at the awards-guessing game. I think "Amour" is one of the very best films in the festival with its harrowing portrait of the mental and physical deterioration of an esteemed piano teacher after a series of strokes, and the husband who must bear witness to this as he takes cares of her.
Haneke's film is so mature and well done that its emotional impact builds quietly, from the core. You marvel at how he layers the scenes of a marriage so naturally that you know the couple has been together for decades in a relationship that is comfortable and emotionally enriching. And so when they make their choices you are right there with them emotionally until the bitter end, and there is no judgment about the choices made.