The films of the 75th edition of the festival drew heavily upon history, much of it grim, and featured a glut of celebrated auteurs.
Author Archives: NICOLAS RAPOLD
Many of this year’s filmmakers share visions of worlds in crisis or shattered by violence and turmoil.
The movie fits the mold of a small-scale film willed into being by determination, obsession, and a modest budget.
The festival has drawn criticism in the past for gender imbalances in its lineup. Other urgent political struggles also enter the spotlight.
Films from Jean-Luc Godard, Spike Lee, and the Colombian directors Ciro Guerra and Cristina Gallego are just a few of those being shown.
The subjects of his documentary “Dead Souls” were condemned in the Communist Party’s “anti-rightist” campaign in the 1950s.
Sometimes the jeering means the movie is provocative. Sometimes it’s a comment on the festival’s decisions. And sometimes the picture is plain awful.
“The Beguiled,” by Sofia Coppola, and “Carne y Arena,” by Alejandro G. Iñárritu, are just a couple of the films expected to make waves at the film festival this week.
Mr. Hong, a South Korean director and Cannes veteran, avoids convention in his tales of romantic entanglements and the raucous ways they can come undone.