39 posts categorized "Cannes Film Festival"

October 11, 2017

THE SQUARE — NYFF 55

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Colesmithey.comJust because a film won the Palme d’Or in Cannes is no reason to assume it is any good. Ruben Östlund’s ham-fisted, but also cheesy, attempt at self-aware social satire is in keeping with his overpraised [debut] parlor-trick drama “Force Majeure.”

Ruben Östlund aspires to be a cross between Michael Haneke and Ulrich Seidl but is in fact closer to Yorgos Lanthimos, another enfant terrible wannabe.

“The square” of the film’s title represents an art instillation outside the X-Royal Museum, a prominent nouveau arts center run by Christian (Claes Bang), a Scandinavian everyman imperiled by the people around him.

Square

Is society breaking down? Perhaps. The lighted square represents a safe communal place where people help each other.  

Christian’s troubles begin when he’s robbed while walking to work by a creative group of seemingly unrelated people. As Christian walks across a plaza a woman comes running towards him, shouting about being killed by a man chasing her. Another bystander protects the woman, and Christian joins in to defend her from the approaching brute.

THE-SQUARE-ART

Only later does Christian realize that his watch, wallet, cell phone, and cuff links have been stolen. The entire episode was an act of carefully orchestrated thievery not unlike that which Christian’s overblown museum commits with works of art such as a room with many piles of rocks.

Elisabeth-moss

Christian’s entitled status doesn’t prevent him from doing some stupid things. At the advice of his minority employee Michael (Christopher Læssø), Christian prints out a bunch of incendiary flyers that he personally puts in the doors of a low-income high-rise where his phone is tracked.

The square

After being interviewed by Anne, a loose-screw American TV journalist played by the now ubiquitous scientologist actress Elisabeth Moss, Christian makes the mistake of bedding her. In the film’s most cringe-inducing scene, Anne engages Christian in a tug-of-war for the freshly used condom that could provide her with innumerable legal options, aside from the obvious motivation of impregnating herself with his semen.

Screen Shot 2022-05-30 at 11.49.27 PM

You have to hand it to Östlund for typecasting Moss to play such a bad-animal character; Christian is no judge of character. He’s also not very good at tug-of-war.

Screen Shot 2022-05-30 at 11.51.00 PM

“The Square” fails as a social satire because Östlund isn’t capable of completing any of his slow-moving trains of thought. He creates provocative situations that he isn’t prepared to pay off on. Östlund got away with pulling the wool over many critics’ eyes with “Force Majeure” because the narrative rested on one blink-and-you-miss-it element.

Square

At two hours and 22 minutes, “The Square” puts its many weaknesses on flagrant display. Here is a lazy satire unworthy of a sneeze from such masters of the form as Lars von Trier. Perhaps one day Ruben Östlund will make a competent film; don’t hold your breath.

Rated R. 142 mins.

Zero StarsZERO STARS

Cozy Cole

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July 05, 2017

OKJA — CANNES 2017

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ColeSmithey.comBong Joon Ho’s family-friendly political satire could well be the most important film of 2017. Without addressing this film’s canny political statements about corporate-controlled food production, “Okja” was preemptively ostracized at Cannes by Pedro Almodóvar who feigned indignation over “Okja’s” Netflix release because it wasn’t being played on big screens in France.

Almodóvar’s pre-festival comments most certainly queered the film's chances of winning the Palme d’Or, for which it was in competition. The Spanish filmmaker’s public statements during a pre-festival press conference at Cannes were pointedly overstated considering that there is already a French law that prevents VOD releases occurring until three years after a film’s theatrical run. Never mind that Pedro Almodóvar’s career has been on the wane since 2011 when he made “The Skin I Live In.” There were a lot of sour grapes at this year’s festival.

Netflixable? Make “Okja,” and the Fan(boys) Go Wild | Movie Nation

Bong Joon Ho’s mother country of South Korea blocked “Okja’s” release due to Netflix’s simultaneous theatrical and online release, which should be standard operating procedure by now to begin with. However much the cards seem to be stacked against “Okja,” the film is destined to go down in history based on its merits as an international satire with teeth.

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Director Joon-ho co-wrote “Okja” with Jon Ronson (“The Men Who Stare At Goats”) based on Ronson’s original script. While the film is not without its kneejerk clichés, it clocks editorial punches that connect regarding genetically modified food and ways in which corporations, and the corporate media, spin the sins they are guilty of committing. Think Exxon or Monsanto.

Jake Gyllenhaal Photostream | Jake gyllenhaal, Okja movie, Jake g

Tilda Swinton plays dual roles as good/evil siblings Nancy/Lucy Mirando, granddaughters of a corporate raider whose sins they are professedly correcting through ethical means. Sound familiar? Lucy gives a press conference announcing the breeding of a “super pig” which will be used to feed the world 10 years down the line.  

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Jump 10 years. Mija (An Seo-hyun) is a young girl living an idyllic life in the mountains of South Korea with her grandfather and her docile super pig Okja, that she has been given to raise. Naturally, the Mirando Corporation wants their prize pig back. They send in Johnny Wilcox, a goofball television animal expert to take Okja away from Mija. The film goes on a full frontal attack when it employs the Animal Liberation Front (referencing an actual international [leaderless] group committed to “engaging in illegal [nonviolent] direct action in pursuit of animal rights.” Paul Dano plays Jay, the group’s sensitive leader.  

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“Okja” is an effective piece of filmic political satire that can now only be viewed in the context of the pressures mounted against it. As is life, it’s good to know who your enemies are.

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Rated TV-MA. 118 mins.

3 Stars

Cozy Cole

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July 02, 2017

THE BEGUILED — CANNES 2017

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ColeSmithey.comSofia Coppola’s thoughtful reworking of Thomas P. Cullinan’s 1966 novel “A Painted Devil” is a provocative study in feminine mores of the Civil War era. That catty jealousies between women, and pubescent girls, vying for the romantic attention of a fetishized male figure doesn’t mesh with the current overstated trend discounting anything that doesn’t meet the Bechdel test is beside the point.

Jessica Chastain took it upon herself to backhandedly insult Coppola’s film during the closing press conference at Cannes last month, but the millionaire actress doth protest too much. I dare say that none of Chastain’s performances in films such as “The Help” or “The Martian” compare favorably against those of Nicole Kidman or Kirsten Dunst in “The Beguiled.” Sour grapes.

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Where Don Siegel’s 1971 film version (starring Clint Eastwood and Geraldine Page) came off as a clunky sexploitation popcorn movie, with some slave exploitation thrown in for good measure, Coppola’s artfully nuanced picture delights in seductive patience. Coppola lets the haunting wartime atmosphere of a rural girls’ boarding school in southern Virginia speak volumes. This is the doomed South after all. Miss Farnsworth’s Seminary for Young Ladies is a Southern mansion lacking in slave labor. Homespun music and bible readings fill the empty hours. Boredom abounds.

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Coppola holds back her use of light to generate an unsettling sense of claustrophobic suspense so that when the narrative moves beyond the school’s candle-lit interior walls, the audience breathes a sigh of relief. Nature brims with dangers real and unseen.

While not a minimalist film, “The Beguiled” turns on subtle twists of emotion and things left unspoken.    

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The story ignites from the discovery of Colin Farrell’s wounded corporal John McBurney, a deserter whose dabbling in mercenary work has proved less profitable or satisfying than he imagined. The Dublin-born McBurney sports a politeness and polished sense of humor that he uses to protect his status as a less than welcome guest in a house kept under strict order by Nicole Kidman’s haughty Martha Farnsworth. McBurney senses that Miss Farnsworth is a rival not to be taken for granted. He adopts a submissive approach. She masks her seething romantic attraction with a stoic hostility that plays into the film’s tragic escalations.

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Still, McBurney can’t resist falling for Kirsten Dunst’s hidden charms as Edwina, the school’s second in charge. He is a spy in a hot house of simmering lust. While it’s reasonable to suppose that Farrell’s character is nothing more than an opportunist attempting to seal safe passage into the next chapter of his life, he is also a man unable to defend against sexual overtures presented to him. Elle Fanning's bedtime kisses prove especially problematic. As for Colin Farrell’s understated performance; it rates as one of the most finely restrained portrayals by a male actor in recent memory, and matches beat for beat the fine work that Dunst and Kidman perform alongside an estimable ensemble that includes Elle Fanning and Angourie Rice.

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“The Beguiled” is problematic inasmuch as it plays against clichés as much as it embraces the necessary lusts of its horny female characters. Finger-wagging feminists such as Jessica Chastain will dismiss the film as playing into Virginia Woolf’s 1926 complaint, which cartoonist Alison Bechdel reframed in 1985 with the help of her friend Liz Wallace; call it the Bechdel-Wallace test.

For the record, the test simply states that a given work of fiction must “have at least two women in it who talk to each other about something other than a man.” Shocking, I know. I suppose Upper East Side ladies who chat primarily about shopping would make for better, or more politically correct, entertainment fare by such a standard. Absurd, I know.

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If that narrative shorthand denies Sofia Coppola’s film, then I suppose I don’t care. “The Beguiled” is a beautifully executed picture full of erotic tension amid historic context, made by one of America’s more gifted female filmmakers.

Some male audiences will likely find the film emasculating if not threatening. So what. 

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I think it’s a mug’s game for any critic to judge a film or any work of art for that matter on a premise as flimsy as what characters discuss. American media still chooses to cover Donald Trump when they should ignore him with a vengeance.

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I wish cats didn’t always sharpen their claws on furniture, but they do. If they scratch you, it can leave a scar or get infected; amputation may be necessary. I’m still always happy to see a cat in a movie, regardless of whether or not the film is any good. And I'm glad they have claws to sharpen; it's part of what makes them cats.    

Rated R. 93 mins. 

4 StarsColeSmithey.com

Cozy Cole

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