Cannes 2022 Week 2 Roundup: Bloated Elvis and the Great Brush | Cannes 2022

Secondlvis was late to the Cannes Film Festival and was greeted by a screaming crowd. He said: “My dad is a good guy” and “It’ll be fine, Mom”. He sang hounds on stage and all the girls turned into puddles. The festival originally wanted Baz Luhrmann’s biopic to open on opening night two Tuesdays ago, but the film is a heroine, and the heroine keeps us waiting. Have we watched enough movies and drank too much rosé? Have we reached a perfect peak excess state? Only in this way, in the end, the king will condescend to show off.

Like Elvis, this year’s festival started off with energy, brisk feet and swinging hips. Now it’s swollen and sagging and just starting to rot. All these events have a natural life cycle, an arc, I think. This one went to Graceland, dateline 1977.

Elvis, then, gave us the slutty monarch the Cannes film Doomsday deserved: greed and distraction, whose heart rate was permanently pinned down by pills. Luhrmann’s big creative decision here was to shape his story into a kind of Judas gospel – Colonel Tom Parker’s self-evident memoir of how he singled out a genius from America’s saliva and sawdust circuit , and in due course turn him into gold. For now, it’s a good idea. But the film uses its fascinating ingredients and randomly grows them through Ruhrmann’s chemical toilets.This hell machine used to wash away Fitzgerald’s the great Gatsby and Australian history. Poor Elvis has little chance.

In fact, newcomer Austin Butler turns out to be perfectly fine as Garrett, the goofy genius in this story. The real problem is Colonel Parker, played by Tom Hanks, who slips out of his wings like a fat man and even giggles at times. “We’re going to Vegas!” he roars, thus alluding to the movie’s neon final scene, the horrific last encore before the lights go out forever.

On the ground, and in the field, the 75th Cannes Film Festival was a sensation — an antidote to years of gloom. In the cinema, however, the atmosphere is more composed, with quite a few match titles that rarely touch the realm of the sublime.Park Chan-wook decision to leave A sensual, head-turning Hitchcock-esque suspense, perfectly performed by the cat-and-mouse lovers played by Tang Wei and Park Hae-il; Tariq Saleh boy from heaven Fascinating story of state-sponsored crime at Al-Azhar University in Cairo.I also love Claire Danes’ moist, boisterous noon stars, in which Margaret Qualley and Joe Alwyn’s doomed lover (she’s a journalist; he’s a shady oil consultant) gets caught in a dire situation in the tropics of Nicaragua predicament. Shot during Covid (based on the great Denis Johnson’s ’80s set novel), this is a movie where everyone (literally or metaphorically) wears a mask.

Director Claire Dennis (center) poses with actors Joe Alwyn and Margaret Cooley.
Director Claire Dennis (center) poses with actors Joe Alwyn and Margaret Cooley. Photo: Pascal Le Segretain/Getty Images

If critics can’t find a masterpiece, they accept a turkey, a disaster to unite them. But the jury is out; we’re in chaos.Valeria Bruni Tedeschi forever Young It’s undeniably tiresome – suffocating reminiscences of her ’80s acting lessons – but it’s a little too lively to qualify as a true mute.God forbid anyone insinuates David Cronenberg’s future crime not good. It’s a brain science fiction novel about organ harvesting and nature freaks, starring Viggo Mortensen and Léa Seydoux as performance artists and his surgeon. Still, it feels like familiar Cronenbergian territory, the equivalent of comfort food — albeit in the form of a warm broth made from body parts.

Critics say Cannes is an escapist, but that’s only half right. These films show the world, and sometimes the outside world.immigrant children of the Darden brothers tori and lokita: They were the contemporaries of the poor who lived in front of many shops nearby.chilling Holy SpiderMeanwhile, spotlight an Iranian killer who preys on sex workers. Ali Abbasi’s thriller is set against the dirty ends of Mashhad. But the town has its own dirty bottom and its own illegal, exploited workforce, especially active during festivals. Doctor Cannes, heal yourself.

Charlbi Dean and Harris Dickinson in Ruben Östland's Triangle of Sorrows.
Charlby Dean and Harris Dickinson in Ruben Ostland’s “Triangle of Sorrows”: “The Funniest Movie at the Game of the Year”. Photo: Plattform-Produktion

or take Ruben Ostrundfunny Sorrow Triangle, the most entertaining film in this year’s competition, turns its ironic gaze on luxury cruise ships. It contains class warfare, gag gags and Woody Harrelson as a self-loathing, drunken captain. Afterwards, some scoffed at the comedy, which was overblown and vulgar and nothing more than a millionaire whack-a-mole remedy game. But that sifts through the elite within the Grand Théâtre Lumière, sandwiched between oligarchic yachts and high-end boutiques. If you think the target is too cheap, the target is likely to be you.

By Thursday, the festival is over. With the market down, most of the sales agents have fled. Located behind the Palais des Nations by the sea, the Cannes Film Festival is buzzing during its opening week. Now it’s a mausoleum of abandoned stalls and empty tables. I wandered the wreckage of Jackrabbit Media, Aria Animation and TriCoast Worldwide. An envelope left on the table read: “I’m sorry, I missed you!” – but, if there was one, who was going to pick it up?

Closure of Lukas Dhont.
The “devastating” closure of Lukas Dhont.

we do not allow Elvis The last word at the Cannes Film Festival. The final stage of the festival includes some more worthy latecomers.Said Rustay lyla’s brother When Taraneh Alidoosti’s heroine (a matriarch deeply disguised in patriarchal Iran) is ragged around her idiot man, a mountain buffet of family intrigue is served. Belgian director Lukas Dhont close – Also in the game – even better: a devastating story about childhood friendships and their eventual destruction. Léo (Eden Dambrine) and Rémi (Gustav De Waele) are 13-year-old soulmates thrown into a new school and struggling to adjust. Leo then rejected Remy, a decision that would haunt him for years. The closure is sun-dappled and airy, but at its core is genuine human misery. We stumbled out of this tear-stained place.

then there is AppearFrom the writer and director Kelly Reichert, which ended the main game with a quiet miracle. Michelle Williams plays the somber Lizzie Carr, a struggling sculptor on the fringes of Oregon’s arts and crafts, who presents a sad, twisted dancer for the upcoming show. There are no thunder scenes; not much can be solved. But what a bespoke treasure this movie is, it’s all the same. Reichardt neither invites us to see Lizzie as an obscure, troubled genius, nor as a joke. She’s fine; she will. Could this show change her fate? Again, maybe not.

Michelle Williams in Kelly Reichardt's appearance.
“Custom Treasures”: Michelle Williams in Kelly Reichardt’s Come Out. Photo: Courtesy of Allyson Riggs/A24

I love the way Reichardt demystifies art—lifting it gently from its pedestal and treating it as another daily chore. Sometimes fine; mostly drag. But the lonely, tenacious process has value in itself. After all the pomp and ceremony of the past two weeks – the bling, the hype, the cheers, the gong – it makes me think this is a good final message to send. With minimal fuss, the film reminds the Cannes Film Festival of the core principles it stands by. It resets the compass and guides us all to get back to work.

The best of the rest…

Cannes Rock Documentary
Ethan Coen walks on stage to introduce Jerry Lee Lewis: Trouble in the Heart, a softball account of a rock pioneer.Brett Morgen hosts a spectacular midnight screening of his Impressionist Bowie Moonlight Daydream. Cohen gave us too little; Morgan arguably too much. Both print the legend in their own way.

Brett Morgan's Moonlight Daydream.
Brett Morgan’s Moonlight Daydream.

family favorite
Mark Jenkin Ennis Men It’s a folk horror film set on the creepy island of Cornwall (tin mines, lichens, standing stones).Charlotte Wells afterglow A weightless, heartrending story about a father-daughter vacation, brilliantly performed by Paul Mezcal and Francesca Corio. From this small sample of evidence, British cinema appears to be doing well.

Cannes protest
On the red carpet, a dozen women detonate smoke bomb Attention was drawn to the 129 cases of femicide in France over the past year. In other places, Three thousand years of missing The premiere was interrupted by a shirtless trespasser protesting rape in Ukraine. This inevitably makes us…

See the red... Ukrainian director Maksym Nakonenchyi, center, and the cast and crew of Cannes Butterfly Vision.
Ukrainian director Maksym Nakonenchyi and crew at the premiere of “Butterfly”. Photo: Guillaume Horcajuelo/EPA

Ukraine
The war kept breaking cover, there were dedicated Ukrainian days on the market, and films of all kinds were on the schedule. Director Maksym Nakonechny demanded that the air raid sirens be sounded at its premiere. Butterfly Visionwhile Sergei Loznitsa’s natural history destroy gives us the history of aerial bombing during WWII. In March, filmmaker Mantas Kvidalavius ​​was killed by Russian troops. His unfinished documentary – Mariucity-state 2 – Performed at Cannes as Awakening.