Avoid spoilers if possible.įinnish director Juho Kuosmanen’s follow-up to his 2016 Un Certain Regard winner The Happiest Day in the Life of Olli Maki is a uniquely romantic story about a young Finnish girl and a Russian miner who meet on a train heading to the Arctic port of Murmansk. Screen Daily critic Jonathan Romney praises star Agathe Rousselle, “who physically and emotionally pushes herself to audacious limits – and who barely utters a word throughout.” He misses “the combination of bravado and control that made Raw work so well, but the deranged cocktail of outrage, excess, conceptual ferocity and sheer silliness on display here will make you gasp – and occasionally flinch.” Over at IndieWire, David Ehrlich begins the final paragraph of his A– review thusly, “The magic of Titane (at least one very major component of which has been omitted from this review, even if it’s sure to become the defining element of the movie) is also owed to the grace with which Ducournau threads the needle between clarity and madness, shock and recognition, throttle and clutch.” You'll be able to judge for yourself when Neon releases the film later this year. It's also impossible to predict where it's going to go next.” Ducournau’s filmmaking is as pure as her themes are profane: to add insult to the very many injuries inflicted throughout, Titane is gorgeous to look at, to listen to, to obsess over, and fetishize.” BBC's Nicholas Barber adds, “Ducournau's beautiful, dark, twisted fantasy is a nightmarish yet mischievously comic barrage of sex, violence, lurid lighting and pounding music. But while God has almost certainly forsaken this movie, He wouldn’t have been much needed around it anyway.
#LOVE GASPAR NOE 2015 MUBI PLUS#
Her sophomore feature (following Raw) is, in the inimitable words of The Playlist's Jessica Kiang, “roughly seven horror movies plus one bizarrely tender parent-child romance soldered into one machine and painted all over with flames: it’s so replete with startling ideas, suggestive ellipses, transgressive reversals and preposterous propositions that it ought to be a godforsaken mess. Still, many reviewers liked the new film, and while director Julia Ducournau may or may not be a provocateur, she is definitely a Palme d’Or winner-and just the second female recipient of the award in its history. And Titane is even more of a violent horror film than Parasite, which should effectively disqualify it from the best picture race. It doesn't seem likely, given that praise for the film is far less uniform than that for Parasite, which finished 2019 as that year's highest-scoring film. Major award winnersĪt the previous Cannes two years ago, Parasite took home the Palme d'Or on its way to becoming just the third Cannes winner in history to go on to win the best picture Oscar.
First, however, here's a closer look at this year's award winners. Which films actually did impress reviewers the most? Below, find out what film critics have been saying about all of this year's notable Cannes debuts (including out-of-competition premieres), divided into three categories-great, good, and everything else-based on the critical consensus. The second- and third-place awards were each split between two films, but even with the extra winners some of the festival's best-reviewed titles were denied top awards. The jury named Titane, the highly stylized, violent, and polarizing second film from Raw director Julia Ducournau, the Cannes winner despite good rather than great reviews.
And it resulted in just the second woman to win the Palme d'Or in Cannes history, following Jane Campion's groundbreaking win (for The Piano) way back in 1993. Many of their films received a strong reception from critics, but the Spike Lee-led Cannes jury came to its own conclusion about the best film at the festival. That's certainly an improvement over the 73rd installment, which was canceled altogether in the early days of the pandemic.Īnd there were certainly plenty of films debuting within those 12 days to whet the appetites of film fans seeking new and interesting fare, including the latest films from notable directors Wes Anderson, Andrea Arnold, Kogonada, Apichatpong Weerasethakul, Gaspar Noé, Leos Carax, Paul Verhoeven, Joachim Trier, Sean Baker, and Mia Hansen-Løve. Though it missed its original May window, the 74th Annual Cannes FIlm Festival managed to complete its 12-day run on Saturday.
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