Cannes 2023 - Anantomy of a Fall by Justine Triet

Justine Triet has had an interesting and promising career so far that has been part of the Cannes Film Festival since her first film Age of Panic was selected in the fringe sidebar ACID back in 2013. Her next, In Bed with Victoria, was in Directors' Fortnight in 2016 then she graduated to the official selection with Sybil in 2019 and she is back this year with Anatomy of a Fall.

Cannes 2023 - May December by Todd Haynes

A regular in Cannes over the last three decades, Todd Haynes has never won any award in Cannes, all the way back to Velvet Goldmine, a wonderful, soulful film which did not turn out to the the Trainspotting everyone was expecting then given Ewan McGregor's presence in it (don't ask, these were strange times) and more recently with Carol when a particular and questionable jury member campaigned against it if rumours are to be believed and recently with the beautiful and misunderstood Wonderstruck. The American director is back in Cannes with May December.

Cannes 2023 - Eureka by Lisandro Alonso

Over the course of twenty years, the Argentinian Lisandro Alonso has carved up his own unique niche quite unlike anyone else and distinct from his Argentinian director counterparts, only loosely associated with the New Argentine Cinema movement. His trademark slow cinema has earned him a place in the hearts of arthouse connoisseurs and he has remained faithful to his artistic style and themes. 

Cannes 2023 - The Zone of Interest by Jonathan Glazer

 

Jonathan Glazer has built one of the most interesting recent careers in so few films over the last decades, one that is has impressive as it is varied an unexpected. Indeed you never quite know where he will turn his focus next, starting off with Sexy Beast in 2000 and its story of British gangsters in Spain to the metaphysical musings of Birth in 2004 and the chilling science-fiction vérité of Under The Skin in 2013. He is in Cannes for the first time with the adaptation of The Zone of Interest by Martin Amis that had the potential to be very controversial given the subject.

Cannes 2023 - Indiana Jones and the Dial of Destiny by James Mangold

After the dreadful and misguided Kingdom of the Crystal Skull, it is reassuring that this new and last sequel (at least with Harrison Ford), The Dial of Destiny, feels like an Indiana Jones film again, especially in this more successful and thrilling first half. The exciting, extended prologue set in the dying days of the nazis, has Indy yet again trying to get his hands on some artefacts they stole. While the de-ageing process is still not quite there yet, Harrison Ford looking nearly like his younger self (except for some weirdly digital looking eyes). Set in a nazi stronghold in a German castle then on a speeding train at night, this opening bring back some echoes of the Last Crusade's middle section with its similar setting and vibes. it is one of many action set pieces that very nearly bring the spirit of the original trilogy back, despite some now inevitable and surprisingly obvious CGI backgrounds, a complaint that carries through the running time.

Cannes 2023 - The Animal Kingdom by Thomas Cailley

Thomas Cailley made a big impact in Cannes with his first film, Love at First Fight (what a terrible English title!), which was presented at Directors' Fortnight in 2014 before meeting a commercial success and giving Adèle Haenel her first French film award for best newcomer. Despite the acclaim it took the French director another eight years before making his new film, The Animal Kingdom, which opened the Un Certain Regard selection earlier this week with an intriguing premise.

Cannes 2023 - Jeanne du Barry by Maïwenn

The Cannes Film Festival picked what some perceived as a controversial film for its opening this year. Jeanne du Barry stars Johnny Depp whose recent court case attracted plenty of attention and then shortly before the festival opened, the journalist Edwy Plenel made some allegations about an assault he was the victim of by director Maïwenn. However, while cinema does not exist in a vacuum (and more on that later), what is the film actually worth?