{"id":17,"date":"2026-05-19T15:39:43","date_gmt":"2026-05-19T15:39:43","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=17"},"modified":"2026-05-19T15:39:43","modified_gmt":"2026-05-19T15:39:43","slug":"all-of-a-sudden-the-glories-of-cannes-are-upon-us","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=17","title":{"rendered":"All of a Sudden, the Glories of Cannes Are Upon Us"},"content":{"rendered":"
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Attend the Cannes Film Festival long enough, and you will grow wearily accustomed to the reality that some of the best films to premi\u00e8re there are routinely overlooked for prizes. Lee Chang-dong\u2019s<\/em> magnificently unsettling psychological chiller, \u201cBurning,\u201d failed to ignite the excitement of the 2018 jury. The tragicomic glories of Maren Ade\u2019s \u201cToni Erdmann,\u201d from 2016, were just as inexplicably unrewarded. Jurors shut out David Cronenberg\u2019s \u201cA History of Violence,\u201d in 2005; Hou Hsiao-hsien\u2019s \u201cFlowers of Shanghai,\u201d in 1998; Krzysztof Kie\u015blowski\u2019s \u201cThree Colors: Red,\u201d in 1994; Martin Scorsese\u2019s \u201cAlice Doesn\u2019t Live Here Anymore,\u201d in 1975; and\u2014the tradition goes way back\u2014Vittorio De Sica\u2019s \u201cUmberto D.,\u201d in 1952. At the 2006 festival, the first edition of Cannes I ever attended, Guillermo del Toro\u2019s magnificent \u201cPan\u2019s Labyrinth\u201d drew rapturous acclaim but left the competition empty-handed.<\/p>\n

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Del Toro\u2019s film, the last one to d\u00e9but in the 2006 competition, was the first one unveiled at this year\u2019s festival, in a lustrous new 4K restoration. The movie, set in Spain in 1944, is both an intoxicating work of fantasy and a grim parable of political rebellion, and its insights into the cruelties and vulnerabilities of fascist power remain undimmed. Introducing the film, del Toro noted, \u201cWe are unfortunately in times that make this movie more pertinent than ever, because they tell us . . . it\u2019s useless to resist, that art can be done with a fucking app.\u201d After the screening, he yelled, \u201cFuck A.I.!\u201d into a raucously adoring crowd. (The festival, for its part, doesn\u2019t entirely echo del Toro\u2019s sentiment. One of this year\u2019s selections is Steven Soderbergh\u2019s documentary \u201cJohn Lennon: The Last Interview,\u201d which uses Meta\u2019s A.I. tools to illustrate some of Lennon\u2019s and Yoko Ono\u2019s words\u2014\u201ca practical example,\u201d per a Meta press release, \u201cof how AI can support a director\u2019s creative process.\u201d)<\/p>\n

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A twentieth-anniversary revival of \u201cPan\u2019s Labyrinth\u201d felt pointed in another respect, too: as a measure of the gap between what Cannes used to be and what, for some disappointed observers, it now is. Hollywood was a dominant presence at the 2006 festival, with prestige titles like \u201cBabel\u201d and \u201cMarie Antoinette\u201d contending for the Palme d\u2019Or, and movies like \u201cThe Da Vinci Code\u201d and \u201cX-Men: The Last Stand\u201d representing the studios outside of the competition. Notably absent from this year\u2019s offerings are summer entertainments on that scale; there\u2019s no \u201cTop Gun: Maverick\u201d or \u201cMission: Impossible\u2014The Final Reckoning,\u201d to name two recent blockbusters that held their world-premi\u00e8re screenings at Cannes. For industry analysts, the lack of such Hollywood-event movies is the latest evidence of a film business in precipitous decline. Amid a catastrophic wave of downsizings and restructurings, plus the impending sale of Warner Bros. Discovery to Paramount Skydance, fewer and fewer studios, it seems, can afford the glitzy launchpad of a Cannes opening. Bringing stars and their retinues to the French Riviera is expensive enough, but a disastrous festival reception can further dent a film\u2019s long-term fortunes, as Disney discovered, in 2023, with the ill-fated launch of \u201cIndiana Jones and the Dial of Destiny.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Even leaving blockbusters aside, there\u2019s a general dearth of American films in the lineup; only two were selected for the competition. One of them, James Gray\u2019s terrifically tense and enveloping \u201cPaper Tiger,\u201d already counts as a highlight. It begins in New York in 1986, around the time that Irwin Pearl (Miles Teller), an engineer, explores a new business venture with his older brother, Gary (Adam Driver), a former police officer. Irwin\u2019s putative job would involve serving as a waste-disposal consultant for the Russian mafia, and although he is the less demonstrative and more na\u00efve of the two, he shares with Gary a stubbornness that can veer into ill-advised swagger. Before long, Irwin and his wife, Hester (Scarlett Johansson), and their two teen-age sons (Roman Engel and Gavin Goudey), find themselves in grave danger from Irwin\u2019s would-be employers\u2014a threat driven home in two sequences that Gray stages in intimately terrifying fashion. Here, as in nearly all the director\u2019s work, but especially \u201cThe Lost City of Z\u201d (2017) and \u201cArmageddon Time\u201d (2022), the fragility of the family unit registers with an almost palpable sense of consequence.<\/p>\n

Elements of \u201cPaper Tiger\u201d are drawn from Gray\u2019s own experience, and you may recognize plot points from some of his earlier films, namely \u201cLittle Odessa\u201d (1994) and \u201cWe Own the Night\u201d (2007): a gnarly Russian-mob milieu, a festering estrangement between two brothers, and a mother who is succumbing, or has already succumbed, to a grave illness. Johansson has been showily dowdified\u2014thick-rimmed glasses, a big blond wig\u2014but never loses her hold on the character; when her voice cracks and her eyes widen in shock, she conveys a bone-deep understanding of Hester\u2019s anguish and fear. It\u2019s a sign of how thoroughly she and Driver vanish into their roles that I didn\u2019t remember, until well after the film ended, that the two actors had previously shared top billing in \u201cMarriage Story\u201d (2019). \u201cPaper Tiger\u201d is another marriage story, and if Teller seems a bit young for the part of a middle-aged family man, his evident ambition works subtextually for a character who desperately wants to be taken seriously. Such foolhardy male striving, the movie suggests, is all too often destructive.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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As ever, Gray uses personal dramas to illuminate larger political realities. In the coming-of-age film \u201cArmageddon Time,\u201d he drew a direct connection from the racist policies of the Reagan era to the overt white supremacy of the Trump era. In \u201cPaper Tiger,\u201d he seizes on a specific mid-perestroika moment, when the rapid opening up of the Soviet economy furthered the Russian mafia\u2019s reach into American neighborhoods\u2014and ushered in our current age of corruption, greed, and moral and environmental ruin. Gray\u2019s sense of time and place is matched by his skill with genre conventions; not least among the film\u2019s set pieces is a hushed, thrilling scene of men stalking each other in what looks like a cornfield, which recalls a similar sequence from \u201cWe Own the Night.\u201d Gray may be retilling the same soil, but to poetic and visceral ends: not for the first time, he shows us how to spin corn into gold.<\/p>\n

Will the particular potency of Gray\u2019s latest vision find favor with this year\u2019s jury? I\u2019m not sure if it helps or hurts him that he is on an unenviable losing streak, having premi\u00e8red five films in previous competitions, only to see all five strike out. There\u2019s a too-common prejudice at work among international-festival juries that regards any American movie, even one as beautifully handcrafted as \u201cPaper Tiger,\u201d as some kind of industrial product, insufficiently innovative or rarefied within the scope of a high-art cinema event like Cannes. The rejoinder to that argument is that Gray\u2019s fine-grained classicism has come to feel, in the A.I.-courting, franchise-obsessed Hollywood of today, like its own radically subversive gesture.<\/p>\n

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At Cannes this year, such radical potential is front of mind. On the festival\u2019s first day, a journalist asked the jury about the role of politics in cinema\u2014an issue that generated storms of controversy at the recent Berlin International Film Festival, where press conferences were overwhelmed by questions about Gaza, Trump, and the relationships between events onscreen and off. The Cannes jurors seemed well prepared for this, especially the screenwriter Paul Laverty, who has been Ken Loach\u2019s most important collaborator for decades. \u201cIn every story, no matter what it is, the question of power and how it operates, and the values within the story, are implicit,\u201d Laverty said. \u201cIt\u2019s like the air we breathe.\u201d He more or less echoed the sentiments of the jury president, the South Korean director Park Chan-wook, who stated simply, \u201cI don\u2019t think art and politics should be divided. I think it\u2019s a strange concept to think that they\u2019re in conflict with each other.\u201d He cautioned, though, against letting politics overwhelm<\/em> art: \u201cEven if we are to make a brilliant political statement, if it\u2019s not expressed artfully enough, it would just be propaganda.\u201d<\/p>\n

It will be fascinating to see what Park and his fellow-jurors make of one of the competition\u2019s best-received entries, \u201cFatherland,\u201d which is about the political uses\u2014and, at times, the utter uselessness\u2014of art and artists, especially during and after times of war. The film, the latest from the Polish director Pawe\u0142 Pawlikowski, follows the novelist Thomas Mann (Hanns Zischler) and his daughter Erika (Sandra H\u00fcller) on a road trip, in 1949, through the rubble of a bombed-out, divided Germany. Mann, who has lived in the United States since 1939, receives a literary hero\u2019s welcome: exiled for his defiance of the Nazi regime, he is now being honored with a prize named after Goethe, his home country\u2019s most exalted poet. The celebration, which is being held in commemoration of Goethe\u2019s two-hundredth birthday, will bring the Manns from Frankfurt, in an obliviously decadent West, to Weimar, in the grim, Soviet-controlled East. Both cities have a claim on Goethe\u2019s legacy\u2014he was born in Frankfurt, but largely worked and eventually died in Weimar\u2014and both cities, too, will attempt to seize upon Mann as a symbol of Germany\u2019s postwar rebirth.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Mann lends to the cause his physical presence and his rhetorical gifts, which Zischler embodies superbly. But fine words ring hollow in these enclaves of guilt and opportunism, and Mann is often undercut by his own apolitical maneuverings; at every turn, he must avoid giving offense to his hosts or, worse, endangering his standing in America by appearing sympathetic to Communism. Erika, played by H\u00fcller in the latest of several remarkable performances, is less cautious and more principled. Ostensibly there to chauffeur her father from West to East, she also checks his ego and offsets his cowardice\u2014as when she confronts one of Germany\u2019s most popular actors, whose career flourished under the Third Reich, and accuses him, with slap-in-the-face ferocity, of being a Nazi collaborator. It\u2019s one of a few instances in which Pawlikowski shows, pace<\/em> Park Chan-wook, how readily the line between art and propaganda can blur.<\/p>\n

The film\u2019s considerable artistry, of course, is its own rejoinder. Pawlikowski previously made the Oscar-winning \u201cIda,\u201d from 2014, and the Oscar-nominated \u201cCold War,\u201d which earned him a directing prize at Cannes in 2018. He and the cinematographer Lukasz Zal filmed \u201cFatherland\u201d with the same pristinely stylized austerity. The palette is black-and-white, the compositions square and elegant. Sombreness has seldom looked more suave or felt more disciplined; the storytelling is astounding in its concision, sometimes to a fault, as the characters\u2019 rich personal histories are elided. When the Manns are struck, mid-trip, by a tragedy, the emotional blow lingers because of Thomas\u2019s insistence on pushing it aside\u2014their tight schedule leaves them no time for grief\u2014and Erika\u2019s bristling refusal to let him do so.<\/p>\n

At eighty-two minutes, \u201cFatherland\u201d is the shortest film in the competition. The longest, and so far the best, is \u201cAll of a Sudden,\u201d from the Japanese director and screenwriter Ry\u00fbsuke Hamaguchi, who last transfixed Cannes audiences with the nearly three-hour \u201cDrive My Car\u201d (2021). \u201cAll of a Sudden\u201d runs longer still, to the point that its title, with its intimation of speed, might seem almost perversely deceptive. It isn\u2019t. Much of the film is set in and around a Parisian elder-care facility, and Hamaguchi guides us through its rooms and hallways, its meetings and rituals, with a patience and passionate granularity worthy of the late documentary filmmaker Frederick Wiseman. Like Wiseman, Hamaguchi is a wizard at manipulating time and how we experience it; in his hands, stillness takes on the quality of suspense, conversation becomes action, and a day\u2019s worth of drama can pass in a few minutes of screen time or expand, quite rivetingly, to an hour.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The film, which unfolds in three tightly structured acts, centers on the friendship between Marie-Lou Fontaine (Virginie Efira), the head of the care home, and Mari Morisaki (Tao Okamoto), a Kyoto-based theatre director who is on tour with a play. Over the space of a few weeks, the two women realize that they\u2019re soulmates\u2014their almost-matching names are a cosmic giveaway\u2014and that their time together is destined to be brief. This is cause for sadness, but also for joy; as Hamaguchi\u2019s admirers know, even the briefest encounters can be profoundly life-changing. In \u201cAll of a Sudden,\u201d Marie-Lou and Mari forge a deep emotional bond that\u2019s rooted in a serendipitous, strangely matter-of-fact intellectual and philosophical kinship. Their conversation ebbs and flows with probing questions about how we care for others and ourselves; what role individuals and institutions can play in a late-capitalist society; and what proportion of risk to control we should seek in life, especially as we age. The latter question seems to weigh profoundly on Hamaguchi, whose films feel at once meticulously calibrated and wildly audacious, and who here manages, as never before, to make those seemingly contradictory impulses coexist as one.\u00a0\u2666<\/em><\/p>\n

Read more Benjamin Netanyahu\u2019s War at Home<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Justin Chang writes about the first week of the 2026 Cannes Film Festival, which unveiled standout new works by James Gray, Pawe\u0142l Pawlikowski, and Ry\u00fbsuke Hamaguchi.<\/p>\n","protected":false},"author":1,"featured_media":16,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-17","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\nAll of a Sudden, the Glories of Cannes Are Upon Us - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=17\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"All of a Sudden, the Glories of Cannes Are Upon Us - 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