The Cannes film festival ended on Saturday night. Congratulations to Nuri Bilge Ceylan for winning the Palme d’or for his 3¼-hour ‘Kış Uykusu’ (Winter Sleep). He’s a fine director—I’ve seen five of his previous six feature-length films (the last I had a post on)—and will look forward to this one when it opens in the summer.
One film that was in competition at Cannes, but which came away with nothing, was Jean-Pierre & Luc Dardenne’s ‘Deux jours, une nuit’ (Two Days, One Night). This is too bad, as it’s an excellent film. It opened in France on Wednesday and I, of course, had to see it illico. I will see anything and everything by the Dardenne brothers. The subject of this one is a 40-ish woman named Sandra—played by the always excellent and sublime Marion Cotillard—, a mother of two with devoted husband (Fabrizio Rongione), who’s coming off a bout of depression that got her onto sick leave for a few months, and who is suddenly being laid off from her job at a small company (in the greater Liège area, where all the Dardenne brothers’ films are set) that makes solar panels. The procedure for her layoff—the Belgian Code du travail is clearly different from the French—was a voice vote by the personnel, the choice being for her to be laid off in return for each of them receiving a bonus of €1,000, or her not being laid off but then no bonus—and, apparently, with not-so-subtle pressure from the plant’s foreman (Olivier Gourmet) for the personnel to opt for the former. So she was canned, though with the boss, after entreaties from her and a colleague friend in the parking lot after work on Friday, agreeing to do the vote over on Monday morning and by secret ballot. So Sandra, desperate to keep her job—the unemployment rate in Belgium’s Wallonia being around 13% these days—, had the weekend to find each of her sixteen co-workers and try to persuade them to vote to retain her, but thereby foregoing their bonuses. And that’s the movie, of her, in a defeatist mood, but prodded by her supportive husband, tracking down her colleagues one-by-one, at their homes, in cafés, at their places of work in their second jobs, and putting them on the spot… It’s the best film I’ve seen in some time on the world of work for those in the lower half of the 99%, who live from paycheck to paycheck, need every last euro they make—not just to survive but also to realize their middling class consumption dreams—, and for whom the prospect of unemployment, always looming, is something that cannot be contemplated. If one wishes to be convinced of the necessity of strong trade unions and/or robust labor law—neither of which is mentioned in the pic, BTW—, see this movie. The acting is first-rate—which may be seen in range of the reactions of Sandra’s co-workers, and, of course, Marion Cotillard, who’s in almost every frame. Hollywood press reviews (tops) are here and here, French reviews (tops) are here, trailer is here. Don’t miss it!
I’ve seen two other films in the past week that premiered at Cannes. One was David Cronenberg’s ‘Maps to the Stars’—for which Julianne Moore won the best actress award—, which delivers a biting critique, to put it mildly, of the us et coutumes of the amoral—when not immoral—, superficial, cynical world of Hollywood and its obsession with money and fame. Not an original theme but one that can always be approached from unique angles. The pic is definitely more watchable than Cronenberg’s last one, ‘Cosmopolis’—which was the worst film I saw in 2012—, but left me somewhat cold, as every last character is so loathsome and odious. And while I am quite sure that many in Hollywood are like those in the movie, I have a hard time believing that most are. It is not an essential film IMO but may be seen. Reviews so far are good (e.g. here, here, and here). Trailer is here.
The other Cannes film seen was ‘The Homesman’, directed by and starring Tommy Lee Jones. I like Tommy Lee Jones and will a priori see anything he directs. This one is a sort of road movie on the high plains, set in mid 1850s Nebraska—though mostly shot in New Mexico—, with the Jones character, named George Briggs, accompanying a headstrong, independent, no-nonsense unmarried woman—but who is actively seeking a man—, named Mary Bee Cuddy, played by a fine Hillary Swank, who has volunteered to transport three mentally disturbed plains women to Iowa. Todd McCarthy’s review in The Hollywood Reporter called it “[a]n absorbing, melancholy look at the hard lot of women in the Old West.” I was absorbed enough, I suppose, but won’t say it’s an essential film. I mean, it was okay. It may certainly be seen. One criticism: I was not convinced by the act Mary Bee committed fifteen minutes from the end—of why she did it; I didn’t like the scene too much—or by the film’s ending. Variety’s review is here and French reviews (good) are here. Trailer is here.
Another film seen lately, that premiered at the Berlinale in Febrary, and which, like the above, was shot in New Mexico, was Franco-Algerian director Rachid Bouchareb’s ‘Two Men in Town’ (French title: La Voie de l’ennemi). It’s a remake of Franco-Swiss director José Giovanni’s 1973 film of the same title—which I have not seen—, entirely set in a New Mexico border county (it’s not the first film Bouchareb has shot in the US and in English) and with the kind of Western vistas that French/European audiences like. The cast—Forest Whitaker, Harvey Keitel, Brenda Blethyn—is great. The pic is well-acted and absorbing. But it has a few implausibilities and an unsatisfying ending. So I really can’t give it the thumbs up (though it is far superior to Bouchareb’s calamitous 2010 ‘Hors-la-loi’, which is the worst movie ever made on the Algerian war of independence). Jay Weissberg’s review in Variety got it right. See also Deborah Young’s review in THR. French reviews were good overall. Trailer is here.