Cannes review: Risk

Risk (dir. Laura Poitras, 2016) ★★★★

risk

At a time when the British press is haranguing about an injunction into a celebrity threesome, we can take heart in the fact that Laura Poitras’ latest film shows the vital role that journalism still plays in shaping the narrative around major world events. Especially when it dares, for a change, to be risky.

Review continues at Little White Lies

Cannes review: Divines

Divines

Two years after Céline Sciamma’s Girlhood, another girls-in-the-hood drama has become the talk of Cannes. This a more rowdy, boisterous banlieue-set film, with a more youthful edge, and a dynamite central performance that’ll make up for inevitable quibbles about its narrative flaws.

Review continues at Little White Lies

Cannes review: Raw

Raw (dir Julia Ducournau, 2016) ★★★★

raw-grave

The Gallic appetite for raw meat takes on a new meaning in Julia Ducournau’s unabashedly gory debut, a French campus cannibal horror which had audiences racing for the exit in its Critics’ Week Cannes screening. But for those who can stomach its gross-out horror, it’s a delectably wild and modern feminist fable.

Review continues at Little White Lies

Cannes review: Mimosas

Mimosas (dir. Oliver Laxe, 2016) ★★★★

A “religious western” is how Moroccan-based Spanish director Oliver Laxe describes his second film, Mimosas, winner of the top prize at Cannes’ Critics’ Week. It’s a spiritual, ambiguously plotted journey through the Atlas Mountains, and those willing to give in to its mystical embrace and gorgeous visuals should find it a sensual, engrossing watch.

The review continues at The Film Stage

Cannes review: Endless Poetry

Endless Poetry (dir. Alejandro Jodorowsky, 2016) ★★★★★

Three years ago, Alejandro Jodorowsky returned to filmmaking for the first time since 1990 with his sumptuous autobiographic epic The Dance of Reality. Now the octogenarian’s second part of a planned five-part series — think the tales of Antoine Doinel on acid — heralds the madcap hippie director of El Topo and The Holy Mountain as a master of a deeply personal magic-realist genre, effortlessly moving as it is psychologically and artistically rich.

Review continues at The Film Stage

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