It should probably come as no surprise, but the Cannes Film Festival in the time of COVID was collectively obsessed with bodies. Defiantly naked bodies, such as Odessa Young’s literary housemaid wandering seemingly for hours around the library in a stately home in the buff in Eva Husson’s, the imprisoned rent boys inand any number of pole-dancers, who were so ubiquitous it sometimes felt as if they walked through the Palais from one film into another.Then there were the freakish bodies.
With more films than ever, thanks at least in part to the backlog of a missed year in 2020, the 74th festival was a feast of cinema. There was something to infuriate everyone. After the awards were announced, jury member Maggie Gyllenhaal said that even in a room of cine-literate, emotionally intelligent people for whom she had the highest regard, there was not one film all the jury members loved. “And I like that!” she added.Here are some of my personal highlights from the festival.
Where is Anne Frank? evokes the diarist’s imaginary friend Kitty with the whimsical tone of a fairytale.Paris, 13th District – about a trio of uncommitted 20-somethings in overlapping, uncommitted but still painful liaisons – demonstrates exactly how a searching eye, musical sense of editing rhythms and storytelling talent can whip up greatness from well-worn ingredients.
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