{"id":226,"date":"2026-05-26T20:37:08","date_gmt":"2026-05-26T20:37:08","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=226"},"modified":"2026-05-26T20:37:08","modified_gmt":"2026-05-26T20:37:08","slug":"the-kids-are-not-all-right-at-cannes","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=226","title":{"rendered":"The Kids Are Not All Right at Cannes"},"content":{"rendered":"
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Writing last week from the seventy-ninth Cannes Film Festival, I noted that some of the best movies to premi\u00e8re here are often overlooked for prizes. The events of the past few days have forced me to amend that statement. During that time, \u201cLa Gradiva,\u201d an exceptional d\u00e9but feature from the French director Marine Atlan, won the Grand Prix in Critics\u2019 Week, an independently run program for first and second films that runs parallel to the official selection. Great things do, in fact, happen to great films, although Atlan\u2019s movie was arguably still ill-served. I\u2019ve heard more than one colleague suggest that it warranted a berth in the main competition, where it would have had a shot at winning the Palme d\u2019Or, the festival\u2019s highest honor.<\/p>\n

Read more The Epic Disaster of Operation Epic Fury<\/a><\/p>\n

Even without that distinction, it\u2019s undoubtedly one of the year\u2019s great discoveries. \u201cLa Gradiva\u201d follows a group of unruly French high-school seniors on a five-day class trip to Naples and Pompeii, where the weather is warm and the scenery gorgeous enough to keep college-admissions anxieties at bay. It\u2019s a travel saga, a coming-of-age drama, and a movie of precisely drawn, superbly individuated young characters who are nonetheless locked in myriad crises of identity, flailing about for a deeper understanding of who they are.<\/p>\n

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None is more bent on self-discovery than Toni (Colas Quignard), who comes at us in a charismatic blur of vulnerability and bluster. He boasts to his friends of his Italian roots\u2014his mother, per family lore, is the love child of a lowly Neapolitan servant girl and her wealthy employer\u2014but, having never visited Italy until now, seems less than confident in his new surroundings. Toni is goofy, disruptive, and behind on his schoolwork, a perpetual thorn in the side of his long-suffering Latin teacher, Madame Mercier (Antonia Buresi), who\u2019s chaperoning the trip. At night, he cruises for men in the area, perhaps to dull the sting of his unrequited love for his smoother, more put-together best friend, James (Mitia Capellier-Audat). In the opening scene, set aboard a train bound for Naples, James hooks up with a girl in a compartment while Toni stands outside the door, a look of jealous longing on his face. Watching Toni from further down the corridor, and sharing in his loneliness, is Suzanne (Suzanne Gerin), a gifted student who deems herself too unattractive for romance and has made a bitter kind of peace with it. \u201cSome girls have got to be unfuckable for others to be fuckable,\u201d she says later, with sullen matter-of-factness.<\/p>\n

Suzanne\u2019s ungenerous view of herself is one of many misperceptions that will be overturned\u2014some gently, some not. Atlan\u2019s story hinges on bodies and minds in perpetual flux, and her filmmaking, rather than settling into the sun-dappled complacency of a travelogue, surges with life and a vigorous sense of possibility. A cinematographer before she turned to directing, she shot the picture herself, alongside Pierre Mazoyer, and, as that first sequence indicates, she has a talent for establishing relationships and layering tensions through the camera; a telling arrangement of glances is all she needs to lay out a clear, vivid emotional framework. But she and her co-writer, Anne Brouillet, also have a terrific way with words. Some of the film\u2019s most captivating sequences are those in which Madame Mercier struggles to engage her students in discussion, and to suggest to them that there\u2019s really no such thing as antiquity: the volatile impulses and volcanic passions that grip them are also the lifeblood of the ancient cultures and art works they\u2019re studying.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The energetic volley of words and ideas, interrupted frequently by raucous jokes, reminded me of similar scenes from the French filmmaker Laurent Cantet\u2019s Palme d\u2019Or-winning drama, \u201cThe Class\u201d (2008). That movie centered on a committed teacher who, in trying to inspire, befriend, and discipline his charges, finds himself more than a little in over his head. \u201cLa Gradiva\u201d strikes the same exquisite balance of idealism and realism. The camera seems alternately amused and exasperated by the spectacle of youthful recalcitrance, but it is also attuned to the thrill of hearing a student expound, with prodigious insight, on the expressive intricacies of a painting.<\/p>\n

Like \u201cThe Class,\u201d \u201cLa Gradiva\u201d builds toward tragedy, with initially imperceptible but finally implacable force. Unlike \u201cThe Class,\u201d which confined itself almost entirely to the grounds of a school, \u201cLa Gradiva\u201d unfolds out in the open, in what is for its characters a beautiful and unfamiliar land; scene by scene, the mounting drama feels less overdetermined and more expansive. The world beyond the classroom, full of treacherous waters, smoldering ashes, frozen-in-time artifacts, and living, breathing, lusty women and men, will prove a vital completion and test of Toni\u2019s, James\u2019s, and Suzanne\u2019s educations. They\u2019ll soon realize that the most important lessons can be as dangerous as they are unforgettable.<\/p>\n

I can\u2019t remember who first told me that \u201clife is short but Cannes is long,\u201d but you needn\u2019t be here for the festival\u2019s entire twelve-day duration, as I have, for the weight of that statement to sink in. The movies themselves, even or especially the good ones, have a way of exacerbating your homesickness. Seeing a film about parent-child separation can make me yearn to be under the same roof as my kids again\u2014and Cannes is always happy to oblige where that subgenre is concerned. It was a relief, though, to laugh more than I cried during the swells of father-son drama that roil \u201cClub Kid,\u201d a disarmingly sweet, hugely enjoyable comedy that has been one of the few near-unanimous critical hits of the festival. (The film played here to through-the-roof reactions and ignited a bidding war, which ended with A24 reportedly paying a hefty seventeen million dollars for the global distribution rights.)<\/p>\n

Read more When Donald Paid Stormy: A History of Hush Money<\/a><\/p>\n

\u201cClub Kid,\u201d which Jordan Firstman wrote and directed as well as starred in, is a coked-up, neon-lit rejuvenation of a wincingly familiar template: the comedy of cross-generational self-renewal, in which a selfish, irresponsible, and\/or curmudgeonly adult forms a transformative bond with a child. Firstman plays Peter, a gay New York City party promoter who discovers that he has a British-born ten-year-old son named Arlo (Reggie Absolom), a consequence of a rare and drug-addled dance-floor foray into heterosexual intercourse. Arlo\u2019s mom has recently died, and Peter reluctantly begins looking after the boy\u2014a responsibility that soon forces a serious rethink of his choices. Even so, there\u2019s no escaping the pull of New York night life, without which this club kid wouldn\u2019t even exist. And although Arlo is still a few years away from being a teen-ager, he\u2019s already music-savvy enough to d.j. some of Peter\u2019s parties\u2014one of many reckless allowances that will ultimately throw father and son\u2019s future together into heartrending legal jeopardy.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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You may know Firstman from his online comedy videos, which made him an internet celebrity during the COVID<\/em>-19 pandemic. You might also have seen him riffing on his gay-influencer persona in the dick-swinging dark comedy \u201cRotting in the Sun\u201d (2023) or, more recently, playing a celebrity stylist in the HBO series \u201cI Love L.A.\u201d Firstman has a way of both embracing and productively undercutting his own look-at-me narcissism. Just when you think you\u2019ve had enough of him, he\u2019ll strike a sweet note of sensitivity, unleash an emotional beat that catches you off guard, or\u2014even better\u2014turn the spotlight on one of his talented co-stars. (The strong cast includes Cara Delevingne, Miss Benny, and Diego Calva.) That penchant for self-promotion goes hand in hand with an unexpected formal assurance; from the long, swirling shot that kicks off the movie, it\u2019s clear that Firstman knows how to place and move the camera, and also how to capture the particular intoxication of the queer club scene. As the movie rolls toward a bittersweet, wholly earned finale, it\u2019s equally clear that he knows how to plumb the depths beneath that dazzling surface.<\/p>\n

There are no ketamine hits, coke binges, or pounding blasts of house music in \u201cFjord,\u201d the wintry new drama from the Romanian director Cristian Mungiu; there is, however, a similarly agonizing and protracted battle for parental custody rights. The film follows a married couple, Mihai and Lisbet Gheorghiu (Sebastian Stan and Renate Reinsve), who have recently moved, along with their five children, from his homeland to hers\u2014i.e., from Bucharest, Romania, to a remote mountainside town in Norway. Mihai and Lisbet are evangelical Christians, and from the start their spiritual fervor brushes up against the town\u2019s likewise strident liberal and progressive pieties. The couple\u2019s children, including their teen-age daughter Elia (Vanessa Ceban), are enrolled at the local school, where, the family swiftly learns, neither traditional-marriage rhetoric nor \u201cAmazing Grace\u201d is allowed. When school officials notice bruises on Elia\u2019s body, they immediately suspect abuse and initiate official inquiries. Before long, all five Gheorghiu children, the youngest of whom is still breast-feeding, are moved into foster care. The rest of \u201cFjord\u201d charts Mihai and Lisbet\u2019s journey through the Norwegian legal system\u2014a trial by ice, in which their every attempt to bring their kids home is met with increasingly glacial disdain.<\/p>\n

One of the most hotly debated titles in a middling competition lineup, \u201cFjord\u201d ended up winning the Palme d\u2019Or from the jury, which was chaired by the South Korean filmmaker Park Chan-wook. The choice catapulted Mungiu into the small pantheon of two-time Palme laureates; he earned his first in 2007, for \u201c4 Months, 3 Weeks and 2 Days,\u201d a masterful thriller about two young Romanian women trying to secure an illegal abortion during the Ceau\u015fescu era. In \u201cFjord,\u201d as in his previous work, he is fond, perhaps to a fault, of elongated scenes and crowded compositions. His ensemble-friendly technique nurtures a sense of life continually spilling in and out of the frame. Everything seems to be happening at once, and crucial clues\u2014but also, you suspect, a few red herrings\u2014are being slipped to us in the margins of every shot. Apart from a moment when Lisbet instinctively shoves two kids away from a potentially dangerous kitchen accident, we never once see her or Mihai lay a forceful hand on the children\u2014which doesn\u2019t mean, of course, that physical abuse isn\u2019t happening offscreen. Our uncertainty is only fed by the immaculate restraint and simmering intensity of Stan\u2019s and Reinsve\u2019s performances, from which every hint of movie-star glamour has been methodically purged. (Stan\u2019s transformation into the bespectacled, nearly bald Mihai is especially startling. It\u2019s also one of relatively few examples of the actor, who was born in Romania, getting to lean into his roots.)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\u201cFjord\u201d pushes your buttons, or at least mine, with a skill as impressive as it is dubious; Mungiu knows how to cloak his manipulations in the mesmerizing syntax of art-house realism. As I watched, I could feel my blood boiling just as the director must have intended, though I also began to question those intentions\u2014and to wonder if the overweening child-welfare agency, with its especially hard stance against Christians and immigrants, was an ideological straw man. In the many discussions I\u2019ve had with other festivalgoers in recent days, I\u2019ve heard it argued that Mungiu has slipped into an oddly misanthropic mode, raining down contempt on all his characters\u2014a posture that better suits a filmmaker like Michael Haneke, one of his notable influences. Some dismissed \u201cFjord\u201d as a reactionary work, a rare dollop of prestige-cinema validation for audiences on the political right. But if Mungiu is seriously courting this crowd he also eyes them with a skepticism verging on satire; in one of the story\u2019s wilder developments, Mihai turns the family\u2019s legal battle into a conservative cause c\u00e9l\u00e8bre, urging pro-Christian activists to oppose what he sees as a textbook case of religious discrimination.<\/p>\n

Then there\u2019s the not-disposable fact that, going back at least as far as \u201c4 Months,\u201d Mungiu has been a fierce critic of all manner of religious and right-wing dogmas. He made the point even more bluntly in \u201cBeyond the Hills\u201d (2012), in which an intimate relationship between two women prompts suspicions of demonic possession in an Orthodox Christian monastery. There\u2019s a similar if underexplored thread of same-sex desire running its way through \u201cFjord\u201d\u2014though, as a tale of outsiders facing persecution from their new neighbors, the film more closely resembles Mungiu\u2019s \u201cR.M.N.\u201d (2022), in which the church is shown to be an enabling instrument of small-town intolerance and xenophobia. Seen in this light, Mungiu\u2019s willingness to grant a conservative Christian \u201cother\u201d the moral high ground strikes me as a fascinating act of conviction and curiosity. He seemed to sum up his position in his Palme acceptance speech, during which he referred to a \u201cdivided\u201d and \u201cradicalized\u201d society and described the film as \u201ca pledge against any kind of fundamentalism.\u201d \u201cFjord\u201d may be something of a cinematic Rorschach blot, a reminder that, too often, we see only what we want to see\u2014and I must confess that, days after my first viewing, I am already eager to see it again.\u00a0\u2666<\/p>\n

Read more I Am a Woman in My Thirties, and I Am Thriving<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

In his second dispatch from the film festival, Justin Chang considers premi\u00e8res from Marine Atlan, Jordan Firstman, and Cristian Mungiu that explore adolescent identity and child welfare.<\/p>\n","protected":false},"author":1,"featured_media":225,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-226","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\nThe Kids Are Not All Right at Cannes - 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=226\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Kids Are Not All Right at Cannes - 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