It’s all pretty groovy for Pawel Pawlikowski at the moment. The Polish director won an Oscar for ‘Ida’ and now he’s back with an Iron Curtain-crossing romance infused with jazzy melancholy.
Cannes is never short of slowburn dramas but this two-and-a-half-hour South Korean effort was the cream of the crop. It’s inspired by a Haruki Murakami story and more than justifies that chunky runtime.
Under the Silver Lake
It split Cannes audiences but we fell under the spell of David Robert Mitchell’s LA stoner noir. Andrew Garfield plays an amateur sleuth on the case of a missing girl.
This year’s Palme d’Or winner is the story of a shoplifting father-and-son duo who take in a orphan girl. Think Dickens, only in modern-day Japan.
Happy as Lazzaro
Alice Rohrwacher’s supernatural, sun-drenched folk tale set in Italy had festival audiences in raptures. Weird, woozy and kinda wonderful.
You’re going to be hearing a lot about Belgian director Lukas Dhont and his groundbreaking debut (pictured above). It’s the moving story of a transgender dancer (Victor Polster) whose ‘Billy Elliot’-like ambitions to become a ballerina are complicated by her struggles with identity.
Enfant terrible and maker of Hitler jokes Lars von Trier wasn’t the only provocateur at Cannes this year, though fellow maverick Gaspar Noé’s new film received a much warmer welcome than Lars’s controversial ‘The House That Jack Built’. ‘Climax’ is a typical Noé head trip about a troupe of dancers who take drugs and go a bit, well… doolally. Don’t take your nan.
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