Find out which films out of Cannes to skip and which to absolutely watch, here:
screened at the festival—where, last year, filmmakers were asked whether there would be a future of cinema, or if we will become what Wim Wenders called “victims of the digital revolution.” Ironically,, which used a similar static shot in one Cannes hotel room to ask filmmakers almost the same questions. Back then, the antagonists were TV, home video, andwhile now, streaming and Marvel are the foes.
While concerns of inflation, labor, home viewing, and big-budget franchises are similar in both films, what adequately addresses in the newer film is a crisis of attention spans. How do you shock viewers overwhelmed with a barrage of images into paying attention? Two filmmakers at Cannes this year did so with sound—and its lack.
Aside from the score, what is most fascinating about Glazer’s film are the night-vision scenes of a little girl planting apples around the nearby grounds, evidently food for those who could escape. These sections are nuanced and abstract, but with the aural background of the Höss children hearing nightly fairytales, seem to capture how a child would process horrific distant screams, perceived ambient trauma, and the fictions she is being told.
, about an organized wife and her feckless husband, both writers, and whether she murdered him or he committed suicide. It’s another film that interestingly uses sound: this time, an enervating loop of a German steel drum band’s cover of 50 Cent’s “P.I.M.P.”. The film and performances are compelling; overall, it feels like a more concise version of a prestige drama like
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