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- The average heart rate. The protagonists of 120 battements par minute are passionate about fighting the indifference that exists towards AIDS.
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New Movie Trailers 2. Movie Previews, Coming Soon, Watch Trailers by Film. Crave. Release date: 1.
The Texarkana Gazette is the premier source for local news and sports in Texarkana and the surrounding Arklatex areas. Many critics predicted the Palme D’or would go to either Russian-language title Loveless or 1990s AIDS drama 120 Beats per Minute. The latter took the Grand Prix.
Uhuru still leads Raila by far - poll. If the election were held today, President Uhuru Kenyatta would defeat opposition chief Raila Odinga by 54 per cent to 32 per.
Language: English. Genre: Comedy/Drama.
MPAA rating: NRDirector: Ruben . But when his cell phone is stolen, his own nature gets the best of him, driving him to ever more shameful situations. Meanwhile, a PR stunt manages to turn.
Best Movies to Have on Your Radar. The French Riviera rolled out the red carpet again this year for 2. Cannes Film Festival, bringing with it a healthy dose of sophisticated cinema and the usual critics foreshadowing what pop culture is going to look like for the next 1. Kardashians and – of course – some classic Cannes controversy. Every iteration of the Cannes Film Festival needs some fussing and bickering to anchor it – it’s practically written into the festival’s programme.
The festival controversy dividing audiences this year was between Netflix (which produced both Okja and The Meyerowitz Stories this year) and the professional association for movie theater owners, arguing over Netflix’s refusal to open the two films in theaters as part of their “exclusive content” strategy. AIDS activists: there were more than enough fine caliber films to chew on for this year’s audiences. So, without further ado, here are the top 2. Cannes Film Festival 2.
The Square. Director: Ruben . This time around, his comedy – the Palme d’Or winner that explores the dictatorship of political correctness – introduces us to an experimental artist who curates a social experiment involving an enclosed space in which people are told to behave responsibly. This is a film that sets out to make your jaw drop – and it succeeds. The icing on the cake is that it stars Elisabeth Moss, who is quietly blowing our mind right now in Hulu’s The Handmaid’s Tale, alongside Dominic West and Terry Notary. Beats Per Minutes / 1. Battements par minute. Director: Robin Campillo.
This entry – from the scriptwriter of 2. Palme d’Or- winning The Class – is a great contribution to queer cinema, humanizing a historical tragedy as it tells a story about ACT UP in France in the late ’8. While we’ve seen AIDS history on screen before, this new iteration about the direct action group is both tragic and heartening. Happy End is a drama about a bourgeois family in Calais who are emotionally detached from the European refugee crisis. It stars Isabelle Huppert and Jean- Louis Trintignant (both from Amour) alongside La Haine director Mathieu Kassovitz. Of course, given that it’s a Haneke movie, you’ll be waiting on the final flourish of violence or shock. Don’t worry, it’s coming: This is a black comedy of unadulterated sociopathy.
The Florida Project. Director: Sean Baker. Director Sean Baker made a big splash a couple of years ago with his i. Phone- shot Tangerine. But so much more than just a shooting stunt, the movie about two transgender sex workers was one of the best of its year. Now Baker’s taken on Cannes with The Florida Project – this time shot on 3.
Willem Dafoe, as the reluctant father- figure manager at the Orlando motel where this movie is set, gives probably one of the best film performances of his entire career. Napalm. Director: Claude Lanzmann. Napalm – a film whose title takes on true meaning by the end – is a documentary filmed around Pyongyang, where legendary filmmaker Lanzmann appears to have been given permission to film on the grounds that he is making a movie about Taekwondo. It’s actually an autobiographical account about his own incredible experience in North Korea in the late ’5. North Korean Red Cross nurse.
Anyone who’s seen his Holocaust documentary Shoah knows that Lanzmann has a gift for telling really gripping stories – Napalm is definitely one of them. The Killing of a Sacred Deer. Director: Yorgos Lanthimos.
The Lobster might not have gotten the recognition it deserved, but Colin Farrell got nominated for Best Actor in the Golden Globes for his turn in the flick, and that has certainly upped Lanthimos’ profile in the States. Farrell stars again in this one, accompanied by Nicole Kidman and – brilliantly – Alicia Silverstone. Inspired by a Euripides tragedy, the disturbing drama centers on a surgeon and a teenage boy who tries to integrate himself into the surgeon’s messed- up family. When the boy’s actions become increasingly sinister, the surgeon is forced to make a grim sacrifice.
Okja. Director: Bong Joon- ho. Netflix invested $5. Bong’s new film as soon as they caught a whiff of it. How To Watch The Full Jesus (2017) Movie there. No big surprises there for anyone who’s seen Snowpiercer. His latest film stars Jake Gyllenhaal, Tilda Swinton, Paul Dano and Bill Nighy; the plot follows a young girl named Mija who risks everything to prevent a powerful, multi- national company from kidnapping her best friend – a giant mammal named Okja.
How can Netflix ever be content with just letting it go on the small screen? Apart from everything else, the incredible visuals would be shrunk down to the underwhelming size of an i. Pad. There’s also some real warmth between the characters, and Stiller steals the show with his big speech about his dad. Faces, Places / Visages, Villages.
Director: Agn. Inside is a photo booth and, as the pair take pictures, they paste them as giant portraits on the sides of old houses and city walls. The film’s varied subjects reflect upon seeing themselves, but also just speak their mind about other topics. Sometimes the film will make you laugh, sometimes you’ll want to cry: Varda’s an artistic great who’s also an exemplary human being.
She inspires not just fandom but love. The Beguiled. Director: Sofia Coppola. Coppola’s Marie Antoinette grabbed the 2. Cannes. But this is one filmmaker who writes and directs what she knows: the stories of troubled young women lost in their own worlds. The Beguiled is therefore the perfect film for a festival so desperate to correct its male bias. An adaptation of Thomas Cullinan’s American Civil War novel, the movie is set at a girls’ school in Virginia, where the young women have been sheltered from the outside world, a wounded Union soldier is taken in. Soon, the house is taken over with sexual tension, rivalries, and an unexpected turn of events.
A Gentle Creature. Director: Sergei Loznitsa. Loznitsa has only just given us his searing documentary Austerlitz, about modern- day consumerist and tourist attitudes to the Nazi concentration camps. So, it’s no real surprise that this Cannes entry is another solemn and antagonistic piece. The Ukrainian film is inspired by the Dostoyevsky short story from 1. As you’d expect from a Dostoyevsky adaptation, it’s both unsettling and cathartically horrific.
The Rider. Highwayman Films. Director: Chlo. It’s a somber study of what happens when your dreams are thwarted just as they were about to come true. Flesh and Sand / Carne y Arena.
Fondazione Prada. Director: Alejandro Gonzalez Inarritu and Emmanuel Lubezki. The Revenant director and his frequent director of photography treated Cannes audiences to this virtual reality installation this year. The immersive and sensually rather incredible VR experience, lasting around seven minutes, puts viewers in the shoes of illegal immigrants crossing the U.
S. But it’s worth getting excited for, if only for the fact that Carne y Arena marks a new chapter in the way filmgoers consume stories. Frames. Director: Abbas Kiarostami.
A new experimental work by the late Abbas Kiarostami, 2. Frames appeared this year as a special screening. The director – who died of cancer last year – won the Palme d’Or for Taste of Cherry in 1. Competition film Like Someone in Love at Cannes five years ago, and finished work on this new project just shortly before his death in July last year. Considered one of the greatest directors in contemporary world cinema, Kiarostami’s latest is a compilation project of short tableau pieces, each lasting 4 minutes and 3. Even from beyond the grave, the acclaimed filmmaker continues to find exciting new ways to get our attention. Bright Sunshine In / Un beau soleil int.
She was previously nominated for the Palme d’Or in 1. Chocolat, and played in Un Certain Regard with Bastards in 2. Her new comedy (unusually upbeat for this auteur) is inspired by Roland Barthes’ A Lover’s Discourse: Fragments.