Critic Journals & Podcasts on the 74th Festival de Cannes
Critic Journals & Podcasts on the 74th Festival de Cannes
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As a guest correspondent of ToroScope, I covered the 74th Festival de Cannes to Chinese film lovers through 12 daily-updated critic journals associated with 500 mins podcasts
Day 4
Day 4
Benedetta is breathtaking and ambitious.
With a camouflage of a religious story, Paul van Leeuwen successfully tells an exquisite parable about the dialectic of humanity/divinity, the connection of film and filmmaker, and the complexion of innocence and corruptibility embedded in human nature.
Day 5
Day 5
The record keeper Sean Penn deserves to be derided.
Flag Day is like a deadpan joke that managed to get the critics and journalists sat in Sal.Debussy with blank stares and sneers before they left in droves. The only reason we didn't leave until the end was to hear the booing from the audience. However, this wish was not granted, as the folks didn't even bother to boo as they completely lost interest.
Day 6
Day 6
Skewering Haruki Murakami and Chekhov, Ryusuke Hamaguchi delivers a stunning literary film.
After a 40 mins opening which resembles Asako I & II, we followed the scarlet sedan into the next chapter written by Ryusuke Hamaguchi. Amidst the highly designed and arranged mise-en-scene, Drive My Car conveys a sense of deliberateness in which different theatric spaces are intertwined/bifurcated.
Day 7
Day 7
Nanni Moretti's middle-class hypocrisy is finally revealed.
When the heroine gives a didactic monologue babbling with "life is not only this apartment but a larger world" after witnessing a street protest at the end of the film, it only exposes her hypocrisy categorically —— how many people believe the crocodile's tears when they are shed?
Day 8
Day 8
At midnight, a cult sci-fi thriller rocked Cannes.
Everything about identity in the film flows; what you are now is what you are not. The concept of ego, even ethics and morality, are malleable and transformable. The avant-garde and radical ideology are vulnerable to a polarizing effect: it is either loved to death by some and unbearable by others.
Day 9 & 10
Day 9 & 10
Sean Baker casted a former porn star to play his political satire. Will Red Rocket win the Best Actor?
Sean Baker continues the performative study and visual experiments he has been doing since Orange in Red Rocket. The actor's background is a perfect match for this character. Simon Rex holds the show together.
Day 11
Day 11
Is Apichatpong Weerasethakul going to win his second Palme d'Or?
Like the other works of Apichatpong, Memoria also defies comprehension from a realistic and logical narrative perspective. The imagery slowness and motionlessness is occasionally interrupted by the astonishing bang. Apart from that, the film deluges viewers with its psychosensorial extasis by producing a transcendence experience. What the filmmaker seeks is never a reality, but an ambiguous state intertwined with the history, the present and the future.
Day 12
Day 12
Before the ceremony, no one expected it to be so amusing.
Albeit a hilarious and awkward stage mix-up at the awarding ceremony, the 74th Festival de Cannes draw a splendid coda by giving the Palme d'Or to French film Titane. This also sets a landmark of bringing this accolade to the second female director after Jane Campion won by The Piano in 1993.
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