The best films of this year’s festival
After the cancellation of the 2020 edition, the glamorous red carpet film festival took place in July instead of May. Cannes 2021 marks the return of the global film industry. Major filmmakers and emerging stars have taken to the French Riviera for one of the most compelling lineups. It was a variety of cinematic experiences from all over the world. He argued for the survival of the art form, regardless of its distribution. In this article, we take a look at the best movies of the 74th Cannes 2021 edition.
The best films of Cannes 2021
Asghar Farhadi returns to Iran for a gripping story about good intentions turning sour. Rahim is a frail young man who is released from prison for two days. His fiancée (Sahir Goldoust) comes across a bag full of gold coins. They may well be enough to pay off his debt. Amir Jadidi gives a fascinating performance as Rahim. Instead, Rahim does the right thing and returns the bag to its rightful owner. He becomes viral fame as a result of his good deeds. Of course, no good deed goes unpunished. Doubts arise as to whether Rahim was honest about the source of the money. Fake news threatens to further destabilize its already chaotic existence.
Farhadi’s intricate tale unfolds with Russian doll-like precision, as bureaucracy and community strife builds up, complicating the situation and raising deeper concerns as to the source of the problem at hand. Despite the cultural uniqueness of the setting, Farhadi’s work has global resonance. The concept of “A Hero” would not be out of place in Frank Capra’s filmography. Farhadi’s well-meaning protagonist, like this ultimate filmmaker for all, faces a moral issue that becomes ours. This is the ultimate “what would you do?” »Film, likely to provoke lively discussions.
The Remembrance Part II
The aristocratic, self-centered and freshly grieved heroine of Joanna Hogg’s remarkable 2019 memoir “The Souvenir” – a 25-year-old film student in 1980s London who falls in love with a heroin addict – stands on the edge of itself. Julie Harte is her name, and the actor who plays her is Honor Swinton Byrne. She lives in an immaculate replica of the apartment of the previous writer / director. It was built on a soundstage and was surrounded by huge enlargements of images taken by Hogg through the windows of his apartment. The story could have ended there. But we’re glad he didn’t because “The Souvenir Part II” is yet another fantastic metafiction track.
As vulnerable as its predecessor and textured with the same sense of velvety becoming, “Part II” adds new layers of depth and distance to Hogg’s self-reflection. Especially when he follows Julie through the tumultuous process of directing her graduation film, a short film about a 25-year-old film student in 1980s London who falls in love with a heroin addict. The set in Julie’s film is not only almost identical to the apartment in “Le Souvenir”. But it is the same apartment as “Le Souvenir”. The exception is that the camera rolls back to see the surrounding aircraft hangar.
In other words, Hogg is producing a film about his young self by making a film about his young self’s greatest heartache. This is basically a remake of Hogg’s previous movie. While the view through the infinite mirror of love dramas isn’t as confusing on paper, or not at all, it becomes even more spectacularly complicated towards the conclusion, as the determined reproduction gives way to a deeper synthesis of the memory and imagination.
Gaspar Noé focuses on aging, dementia, and mortality in this 142-minute almost entirely split-screen look at an older couple. Performed by Dario Argento and François LeBrun, inspired by a recent near-death experience. It is due to a brain hemorrhage and the loss of many close friends. In terms of scope, ambition and execution, this is one of the most beautiful images of all time. And it is a devastating and unusually heartfelt accomplishment for Noah.
Drive my car
Ryusuke Hamaguchi’s sequel to the painful romance “Asako I & II” borrows a leaf from Korean author Lee Chang, dong’s recent triumph in Cannes with “Burning”. He adapts a short story by Haruki Murakami. In this case, “Drive My Car” from the 2014 Men Without Women collection — in a daring cinematic adventure.
The winner of the festival’s best screenplay award has flawless performances and a screenplay that is a screenwriter’s holy grail. Hamaguchi produced a deep and masterfully interwoven classic. It lingers in your mind for days and prompts you to remember it. It’s not something you can say about many three hour movies. To be honest, this is not enough.
The history of cinema: a new generation
With this look at the films of the past decade, Irish film critic and documentary maker Mark Cousins continues his study of world cinema, which began with the 3-hour film The Story of Film: An Odyssey. Most critics agree that his approach to film history is “colossally knowledgeable, decidedly internationalist and genuinely educational,” as Peter Bradshaw of The Guardian put it. Steve Pond of TheWrap stating “you can’t love movies and dislike a lot of what Cousins puts on screen”.
An opposing view belongs to The Playlist’s Warren Cantrell, who sees it as a “book-style documentary with no creative frills or even traditional support structure to bolster its arguments,” resulting in “the antithesis of what he praises. with so much enthusiasm “. But in her review for THR, Sheri Linden sees it differently: “The walk he takes us here is a beauty, a dreamy landscape designed from a decade of mind-boggling ideas and innovative screen designs.
Director Andrea Arnold’s documentary, shot entirely at ‘cow’ eye level (with tilts and pans to see what the animal sees), avoids using sophisticated editing methods, opting instead to allow the mother cow and her daughter calf to go every day, existences speak for themselves.
Returning to Cannes 5 years after the premiere of the roadside epic “American Honey” and returning to the television world for a while with “Big Little Lies”, his most recent is a leisurely change of pace from his original social dramas, instead of addressing “interesting and difficult questions about the boundaries between on-screen anthropomorphism and animal rights – or lack thereof.” “