Cannes 2. 01. 6: Competition Blog - 'Elle, the end..' . This beautifully judged drama/thriller is all about a provocatively powerful woman, much like Verhoeven’s last Competition entry – Basic Instinct, which played back in 1. Elle is that picture’s equal, and, in a similar way, captures a new moment for film’s femme fatale. Elle, starring the unrivalled Isabelle Huppert, threads sexual intrigue with knife- edged danger, punctuated by the occasional relief of unexpected, uneasy humour. It’s a film which could only have come from the hands of the Dutch master, back after a 1. Watch 2016 Online Cinema Min Far Toni Erdmann KinoBlack Book – and how we have missed him. Huppert has rarely been better as the head of a videogame company who is attacked and raped in her home by a masked intruder. This plays out, however, at the onset and is just a launchpad for Verhoeven to examine his career- long themes of power and domination afresh. Watch 2016 Online Cinema Min Far Toni Erdmann StreamingA Weekend with the Family (2016) Watch Online. It's the far east against the deep south. Get breaking entertainment news and the latest celebrity stories from AOL. Teatro Alla Scala Live 2016' Madame Butterfly - Trailer. Vi presento Toni Erdmann (2016) HD Italiano. So far, everything is fine. It has been a terrific year for women, throwing out one challenging female lead performance after another and ending with the dominance of Huppert. Complex portrayals like these can change filmgoers’ tastes – never has the race for Best Actress here been so crowded, with the men’s roles so pedestrian in comparison. Three poorly- received films at the end of Cannes – Sean Penn’s The Last Face, Nicolas Winding Refn with The Neon Demon and Xavier Dolan with It’s Only The End of The World, do not a bad festival make. From Paterson to Toni Erdmann, Sieranevada to American Honey, Loving to Elle, Cannes 6. Jury selection should be an interesting debate. May 2. 1The Salesman. Toni Erdmann hasn't screened yet. The Stories of the World, Brought to Your Neighborhood. Movie Posters from films in Cannes 2016 . Toni Erdmann by Maren Ade. En poursuivant votre navigation sur nos sites, vous acceptez l'installation et l'utilisation de cookies sur votre poste, notamment It’s not initially clear where Asghar Farhadi’s The Salesman is destined. We’re plunged into a Tehran apartment block at night which is under a rattling evacuation. Construction work next door has resulted in damage to the foundations, and it is declared unsafe. Rana (Taraneh Alidoosti) and schoolteacher Emad (Shahab Hosseini) must evacuate their home. When the pair, who are performing in a production of Arthur Miller’s Death of a Salesman, eventually move into an apartment owned by a friend, it will set off a chain of events which rock their own marriage to its very foundation. It takes a while for Farhadi’s film to get a grip, but once the masterful director of A Separation hits his stride, the drama begins to ratchet up. After a violent incident, people simply stop telling the truth, to themselves or to each other. And Emad goes from being the type of man who will save a crippled neighbour before himself, to one who might resort to lethal violence when his masculinity comes under threat. There’s a lot in this film, not just about truth, lies and marriages, but Tehran - a city which should be knocked down and built again, says Emad - and Iranian society. May 2. 0The Last Face. Sean Penn’s The Last Face is so horribly misjudged, it’s almost painful to watch. Setting a love story between star- crossed western aid workers against the bloody backdrop of civil war in Liberia is clearly not a good idea, but the stunningly insensitive execution somehow makes it all worse. That’s sad, as Theron and Javier Bardem clearly went into this with good intentions and gave it their best shot. But with Penn using the bloody death of an African child as a climax in the couple’s tedious on- off relationship and following it up with a speech about the rights of refugees to have dreams, the reaction becomes understandable. Questions will justifiably be asked about why this film was placed in Cannes Competition in a year where no films from Africa are competing. Neon Demon. Neon Demon is a stylish, modish parody- slash- takedown of the LA fashion industry, although some might suggest that world is beyond parody and it’s just a grimy old slasher film dressed up in a shiny frock. Coming back to Cannes after Only God Forgives, Nicolas Winding Refn is – again – in a mood to shock. And he tries so very, very hard, driving some highly stylised imagery across a movie drenched in a Giorgio Moroder- ish score. Mostly, though, Neon Demon reminds you of the other, better films it is cobbled together from – anything ranging from Lynchian (Mulholland Drive) to Kubrickian (The Shining) to American Gigolo to Cat People to a Robert Palmer video (Addicted To Love) to De. Palma. Have we become so jaded, or is Neon Demon trying too hard? Given its cannibalistic theme, Neon Demon could be the perfect illustration of film eating itself. Elle Fanning is radiant as a beautiful new arrival on the Los Angeles modelling scene. She has that unquantifiable beauty, a fresh, natural look which sets people’s hearts a- pulsing, and her jealous rivals to take desperate measures. Keanu Reeves, Christina Hendricks and Allessandro Nivola take small cameos, but the film belongs to the model- mannequins, the make- up department, and the very- busy technicians who provided the on- set blood. May 1. 9It’s Only The End Of The World. Booing in the Palais has consciously uncoupled from the quality of the film that’s playing. Personal Shopper - hardly a tour de force, but no disaster either - was jeered, but Xavier Dolan’s excruciating It’s Only The End Of The World passed by quietly, at least during the screening. When it came to writing up their reviews, however, this screeching family drama was scorched by the critics. A jumble of actor- ly tics and fidgety, in- your- face camera work, It’s Only The End Of The World scores high on interesting cast - Marion Cotillard, Vincent Cassell, Lea Seydoux and Gaspard Ulliel - and low on interest in spending any time with them. This latest from the Quebecois director of 2. Grand Prix winner Mommy boasts all the bold signature elements which have propelled Dolan to such great heights at such an early age (propulsive, popular score, blinding, gaudy camerawork). This time, however, they were amped up to deafening levels and wrapped around a paper- thin premise. Ulliel plays a gay writer who returns home after an unexplained 1. Vincent Cassell is his shouty older brother Antoine; Marion Cotillard his bullied, stuttering wife. Seydoux is his shouty tattooed sister Suzanne. And, in kabuki/drag make- up, Nathalie Baye is his shouty mother. Ulliel left, just a ticket out of the cinema themselves. It’s Only The End Of The World is based on a play written by Jean- Luc Lararge, the French actor, director and playwright. Graduation. Graduation is the second Romanian film to try for Cannes glory this year, after Sieranevada opened the Competiton last week. This is a solid, if unspectacular, feature from the director of the Palme D’Or winning 4 months, 3 weeks, 2 days and Beyond the Hills, which took the director’s prize here for Cristian Mungiu. Graduation tells the story of a doctor in Cluj who, desperate that his treasured only daughter pass her exams and get a ticket out of the corrupt, compromised Romania he despises, finds himself in a deep moral quagmire. There’s an air of menace around him as the days of her graduation exams play out. Graduation was greeted warmly, if not quite ecstatically, by critics around the Palais des Festivals. Mungiu has dealt with these themes before. And after a week spent watching complex, multi- layered women take to the screen, it felt almost retrograde to see the male gaze hone back into view. Another fat, middle- aged man with a bad marriage and a young mistress he mistreats and a daughter he pushes around - all their lives framed within his story. However, Graduation is one of the few films to feature a traditional leading man performance in Cannes this year - thus far - meaning that its lead Adrian Titieni, along with Paterson’s Adam Driver and Joel Edgerton from Loving must remain good bets for Best Actor as we move towards the last few films in Competition. May 1. 8The Unknown Girl, Ma’Rosa. A mid- week calm has descended on the Palais des Festivals today, with Brilliante Mendoza (Ma’Rosa) and the Dardenne Brothers (The Unknown Girl) turning in two respectable, and respected, films which run fairly true to the filmmakers’ form. Double Palme D’Or winners The Dardennes have cast the talented young actor Ad. She plays Jenny from the docs, a young medico who fails to answer the buzzer at her grungy clinic one evening. This turns out to be a life- altering decision for everyone involved. While the Dardennes continue to root their characters in reality, this is a move into more classical genre- inflected story- telling, following on from the tensely told Two Days, One Night. Haunted by a missing woman, Jenny takes it upon herself to make restitution. There’s a very strong sense of place here, and the town of Seraing and the options therein look appropriately tough. Yet the resolution to the drama is bumpy, and despite Haenel’s performance, The Unknown Girl lacks the power of some of the brothers’ earlier films. If Seraing feels faintly depressing, though, it’s as nothing when compared to Brilliante Mendoza’s Manila in Ma’Rosa. Although he’s going over familiar territory, and, viewers of Kinatay will remember exactly how badly things can go for the city’s inhabitants, the Philippine capital has never looked more despairing, its inhabitants so hopeless, as they negotiate mountains of litter and open sewers in their attempts just to survive the day. Ma’Rosa (Jaclyn Jose) has taken to selling drugs to eke out her family’s tenuous existence – they run a cabin- like shop in one of the city’s slum- like areas. But when Rosa and her layabout husband Nestor are shopped by a neighbour, they will now have to find a way to get themselves through the openly corrupt and unpredictably dangerous police force to start their lives from square one again – that’s if they survive. Mendoza is a prolific film- maker, and, as with all his work, Ma’Rosa is a difficult watch – the cacophony of the ambient noise in Metro Manila coupled with the on- the- move visuals and naked camera work make this an all too uncomfortable, immersive experience. May 1. 7Aquarius. Best Movies for 2.
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