Cannes 2022 Week One Roundup: Return to Form – and Top Gun Rebirth | Cannes 2022

AKnes Varta was the leading light of the French new wave, the creator, eager and curious Wanderer, Le Bonhour And Cleo 5 to Up to 7. Critics called her the movement Great-mere But he won (his first) nomination for the Oscars at the age of 89. He died in 2019 and was immediately buried in Montburnas Cemetery.

Now Warda is back in cinematic form, dedicated to the Cannes Film Festival, after a fad. Sally Agnes Warda, sitting on the beach behind the concrete balloons, will be referred to by the French as “séances” (screenings, you and me) throughout the event. Formerly known as the Salle du Soixantième, this place has always been one of Cannes’ busiest, most unruly places: a glorious wedding venue, echoed by the wind and echoed by voices. Wherever she is, I think Warda will agree.

The ghosts of films of the past cause joy in Cannes: peeking out of posters, slapping their names in the wrong theaters. It looks like the festival is being rebuilt every year by a group of busy spirits. On the opening day, the ground is still a construction site, filled with balsa trees and undergrowth, to the sound of distant hammers. The first red carpet visit was the rolled carpet. The staff drags it up the stairs as the witches do the magic trick and then spreads it out with a boom. I was half expecting the ghost of Francois Truffaut to come out.

The resurrection of Cannes is of course TikToked and televised, with paparazzi in palaeozoes and racing parades. Paid for the Govt 2020 festival, last year’s event was a bad mask ball. Now it’s back to its usual May slot, and it looks like we’re back to the old full fat days; The old fanatical trick that God is good with the terrible, political with the trivial, sacred is unclean. At the opening ceremony, 10 minutes apart, from a celebrity Singapore, with the video hook-up in his bunker with President Zhelensky, for the first scene of a zombie comedy, we beat, The final cut. Such speed changes can give a turbulent whiplash.

Michael Banks Repetta and Anthony Hopkins at Armageddon. Photo: Jose Perez / Boer-Griffin / Rex / Shutterstock

First place in the main competition rankings Tchaikovsky’s wife, From the disgruntled Russian director Grill Cerebreniko. It marches into a rigid, formal auditorium (with all-starred collars and wire-frame skirts) further frustrated by the titles and the rage about the composer’s wedding car accident. He is a tight-lipped maniac with a lustful eye for boys. She’s the chief tyrant who turned out to be his unfortunate castoff. The film revolves around the plight of women, but it also weapons it. Poor Antonina Tchaikovsky uses the unique brand of devotional love, which is a kind of vengeful warmth.

In balance, I really liked it Armageddon time, 1980s Queens, set up rigorously in real estate Boomtown, New York. Michael Banks plays Repetta, the son of a Jewish plumber named Paul Graf, who grew up in an elite private school at the urging of his grandfather (Anthony Hopkins), who passed through Ellis Island as a child. James Grave’s aging story manages to evoke a good mix of emotion and bitterness. This reduces its yrmulke to EL Doctorow’s World Exhibition; Shows how immigrant dreams can be distorted. Notebooks, students, for some important life lessons. This system is fraudulent, it is customary to betray and the Queen’s Crown King, the smiling Fred Trump.

Vicky Creeps in the Corsage of Mary Croats.
Vicky Creeps in the Corsage of Mary Croats. Photo: MK2 Films / Felix Vratney

In the middle of day two, the tube was turned on and the pictures were buzzing. We get a dose of socio-realistic rude respect Harka, Focuses on the illegal petrol trade in Tunisia. In getting, we find washing away the wasted elegance in admiring oneself Garland, Which connects Vicky Cripps in all sorts of knots as the thoughtful Empress Elizabeth of Austria. Then comes along Eight mountains To infuse the needle of majestic art with diligent storytelling of decades of friendship in the alpine peaks of northern Italy. The film is deliberate, not rushed – a poetic meditation on the deep time of nature and the shallow time of human life. But its wide airy views (writing and figure) are hard to shake.

This year’s jury chairman is Vincent Lyndon, a brave servant of French cinema and a co-star who won the Palme d’Or. Titan. He tells me that he first came to Cannes in 1987 when a film crew traveled around the city for a television documentary. Lyndon recently watched footage of her mother ringing on an old Rotary phone to report excitedly that she could see Paulis from her hotel. He says: “Now, 35 years later, I am president and my parents are no longer here and have not witnessed it. Or they may be. “He gestures vaguely to the balustrade windows.

Director Michel Hazanavicius and actors Bérénice Bejo and Romain Duris promote the finale of the Cannes Film Festival.
Director Michel Hazanavicius and actors Bérénice Bejo and Romain Duris promote the finale of the Cannes Film Festival. Photo: Anthony Harvey / Rex / Shutterstock

According to pundits, Cannes faces some tough choices. But it seems to me that pundits say the same thing every year. They say it’s stuck in the past or sold out or the big pictures are migrating to Venice. All of this may be true; The industry is in development. Still bears Cannes. It enhances its mystery, resets the clock and fights another day. Final credits, I bet, are decades.

The scoundrels hunting for an iconic film in the first week of the festival may have plummeted to the opening film of Michael Hasanavicius. The final cut – An active film-biz parody about a catastrophic production victimized by the undead. But I want to go along Top Gun: Maverick, One of the few Hollywood behemoths to travel; Expected movie that I hate and enjoy. It’s a big, war-scar, retro-fitted blockbuster; The type of scene that needs to be viewed on a massive scale. Tom Cruise now returns as the aging flying Esau, haunted by his past and certainly facing disaster. “The result is inevitable, Maverick,” he told the Admiral. “Your type is heading for destruction.”

Top Gun: Maverick Doesn’t work, still does somehow. It loves aircraft, motorbikes and sleek, vintage forces. This is an excellent, gilded monument to dangerous carbon toys. But if the film is Ozymandias (that “great decay” from Shelley’s poem) it is at least visible; Leaning into its own obsolescence, it embraces its inner dinosaur and, perversely, makes it fly. Top Gun: MaverickIn other words, the rocket takes the fossil remains and converts them into fuel. Like Cannes last week, it is on the ramp, bold and important, beyond the clouds of glory. Meet the new boss just like the old boss.

Upcoming Venues: Week Two, Cannes 2022


Austin Butler in Elvis, Boss Luhrmann.
Photo: Alami

The festival will be held throughout Vegas on Wednesday for the first scene of Boss Luhrmann’s Elvis Presley biography, soaked in sweat, embedded in rhinestones and described by its creator. Apocalypse Now Musicals “. Austin Butler plays King; Tom Hanks Colonel Parker.


Michael Williams sculpts the scene
Photo: Courtesy of Allison Ricks / A24

Beliefs are high for Kelly Richard’s recent Lo-Phi artwork, he’s a hard-working historian of the hidden corners of the United States, who plays Michelle Williams as a sculptor in the hippie quarter of Oregon. Expect something more fragile and valuable, handmade than gems.

Holy spider

Jar Amir-Ebrahimi in the Holy Spider
Photo: Cannes

While the Cannes competition generally blocks genre entertainment, Ali Abbasi’s serial killer thriller is the exception, crawling into the ink-black abdomen of modern-day Iran. The killer, we guess, is a kind of political metaphor.

Future offenses

Viggo Mortensen, center, Léa Seydou, left, and Kristen Stewart in future offenses
Photo: Nikos Nikolopolos

Physicians Ready for the Horror of David Kronenberg: The Story of Organ Transplant Surgery and the Art of Performance, starring Vigo Mortensen and Kristen Stewart. The director promises several walks in the first five minutes and a decision to leave the remaining survivors in bits.

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