Chilly day brimming with rich filmic opportunity. Five films on the docket today. All from different festival sections: Directors Fortnight, Un Certain Regard, In Competition, Cannes Classic, and our first Midnight Selection.
We Are Aliens ★★★★1/2
Directed by Kohei Kadowaki / Directors Fortnight
Animated with a blissfully unique skill that explodes with vibrancy and color, this is a soul-touching film that is not afraid to slow things down and make us appreciate the small, tender moments.
We are Aliens is the feature debut from Kohei Kadowaki and it is a home run. It centers two boys, Tsubasa and Kyotaro, who become inseparable in their elementary school days. The dynamic is dramatically altered after an incident in the rain, leading to Tsubasa suspecting Kyotaro of being an alien.
A piercing gaze into adolescent boys and how the smallest things can grow into distrust, anger, and resentment. Deeply moving and potent, it is made with utter confidence.
The Meltdown ★★★★
Directed by Manuela Martelli / Un Certain Regard
A mystery of a missing girl, words left unspoken, and a hotel dependent on the snow. One of the few Latin American films at this year’s festival, Martelli’s The Meltdown is a slick, intriguing, and haunting piece of art. What goes unsaid often reveals the truth, as a look or a touch tell their own story.
The lead performance from Maya O’Rourke as Inés is flawless, making the character her own and leaving us wanting more once the end credits roll. Her expressive eyes propel the film.
Mariá Portugal’s score is another highlight, its sinister tones help to build a gripping atmosphere. While Through cinematographer Benjamín Echazarreta’s lens, the snow, mountains, and forest become their own imposing force.
Fatherland ★★★
Directed by Pawel Pawlikowski / In Competition
A melancholic look into a country after and in the midst of strife. Pawlikowski takes us through a transitional period in Germany directly after the Second World War. The film boasts beautiful black and white cinematography and a standout performance from Oscar-nominee Sandra Hüller. Without a knowledge of German literature and philosophy it might be difficult to fully appreciate the complexity of some of the the topics that are discussed. Despite that, there is a sense longing for a betterment of humanity beating through the film.
Ken Russell’s The Devils ★★★★★
Directed by Ken Russell / Cannes Classics
With only one screening here at Cannes, Ken Russell’s director’s cut of his 1971 feature The Devils was a hot ticket.
After being incomplete for many years, The Devils receives a glorious resurrection. This new restoration pops and burns bright, rebuilding the original version Russell always intended. In this version, Oliver Reed and Vanessa Redgrave’s performances are even more potent. Queer provocateur, Derek Jarman’s iconoclastic white brick production design is heightened to heavenly seductiveness. Soon there will be no need for bootleg versions, as this will be THE definitive way to watch this scathingly beautiful masterpiece.It is all there. Restored. It is every cult film lovers wet dream.
Species (Sanguine) ★1/2
Directed by Marion Le Corroller / Midnight Selection
A baffling film with no logic or reason. An attempt is made to explore underpaid overworked people in a body horror context. Margot (Mara Taquin) trains under a strict and rigid doctor, leading to mounting stress that affects her in more ways than she could have ever imagined. Species feels heavily influenced by The Substance, including similar shots and sequences. Incoherent in its body horror, its rules are never established which leaves us guessing what the film means to say about toxic work culture. Disappointing, bland and sending mixed signals every which way.
By Andrew Pankey
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