By Amanda Gilmore
Writer-Director Warwick Thornton brings this beautiful examination of spirituality and survival. He’s questioning the fact that if one faith exists then why can’t all faiths exists?
The Film is set at a remote Australian monastery in the ’40s, where a mission for Aboriginal children is run by a renegade nun, Sister Eileen (Cate Blanchett). When an Aboriginal boy (a mesmerizing performance by newcomer Aswan Reid) who appears to have special powers is delivered to the monastery the balance of the it becomes challenged. The boy’s Indigenous spiritual life does not gel with the mission’s Christianity and his mysterious power becomes a threat. Sister Eileen is faced with a choice between the traditions of her faith and the truth embodied in the boy.
When the new boy arrives, he’s brought into this world he doesn’t know, a faith that he’s never encountered. But all he really wants to do is survive. He only knows how to survive in nature. As there is a hierarchy that Sister Eileen gives the boys, the new boy attempts to get to the top of it. Additionally, just as most children believe, he thinks he needs to please those with authority to achieve survival.
The thing that pleases Sister Eileen more than anything is a relic of Christ on the cross which was recently delivered. The new boy observes the nun as she praises the religion and the symbol. Soon, the new boy becomes transfixed by this faith he’s never known. However, when he shows his special powers, Sister Eileen fears them rather than attempting to understand them.
As always, Blanchett delivers a tremendous performance. This time as a nun whose passion for Christianity is deep-rooted and unwavering. Although Sister Eileen is willfully blind to other religions, Blanchett creates space for mystery. We find ourselves wondering if she will open her mind to the new boy’s spirituality.
Thornton delivers the harsh reality about those faithful to Christianity. That it must conquer all and there’s no space for others. It’s clear that the new boy was willing to learn and accept another faith. In doing so, it’s a message that other faiths are open to the belief that all can co-exist. Only Christianity believes it should be the sole survivor.
The New Boy screens at Cannes ’23:
Fri May 19 at 4PM at DEBUSSY THEATRE
Sat May 20 at 11AM at CINEUM AURORE
Sat May 20 at 5:30PM at BAZIN THEATRE
Sun May 21 at 9AM at CINEUM AURORE
Sun May 21 at 11:15AM at LICORNE
By Amanda Gilmore
Molly Manning Walker makes an exceptional, daring Feature directorial debut.
Three best friends, Tara (Mia McKenna-Bruce), Em (Enva Lewis) and Skye (Lara Peake) go on a vacation to a small town in Greece. The Brits plan this vacay to be what is typically called a rites-of-passage holiday — drinking, clubbing and hooking up. This should be the best summer of their lives but not for Tara.
We’re introduced to these three charismatic young women as they make their way to their hotel. The chemistry between the three actors is palpable. It’s a delight watching their first interaction with the receptionist. Lying through their teeth in order to get a pool-view room. It’s rare to see the openness with which they speak to each other on screen. They converse freely about which one of them will get laid the most. It’s here we learn that Tara is a virgin and is looking at this holiday as her chance of sealing the deal. They’re hilarious, complex, and authentic women on the cusp of adulthood.
Shortly after we become completely beguiled by the Trio, Manning Walker introduces us to the world they’ve entered. It’s one filled with a non-stop party clock and a sea of horny partygoers. Manning Walker’s unflinching direction takes us into this world. Each pool and party scene oozes with energy and unapologetic authenticity. So much so that you can smell the chlorine and sun tan lotion by the pool. And we can smell the stench of sweat and alcohol in those crowded parties filled with hard bodies.
The first half of How To Have Sex is filled with daring, raw scenes of rowdy behaviour. Manning Walker gives us the uncomfortable truth of what these types of holidays can be like. Not only for the girls but the neighbours they meet while there. But it’s all fun and games until someone gets hurt right? Few Filmmakers can master the tonal shift that happens in the second half of the Film. But Manning Walker can and exceeds this feat beyond limits.
The latter half of the Film delves deep into consent, particularly for people who have a 24-hour party clock. Once again, Manning Walker’s lens is raw and unflinching. However, this time it isn’t showing us the fun party lifestyle. Now she’s showing us the cruelty inflicted on Tara. From the moment the event happens, we stay with Tara and her state of mind. The parties are no longer fun. Her friends are irritating. Most heartbreakingly, we feel the misguided shame she feels.
This might be the most painful part of How To Have Sex. Manning Walker’s Script examines the stigma attached to this type of assault. It’s this stigma that makes survivors internalize their pain. The shame Tara feels is shown by her never telling anyone what happened, even her friends. These are the same friends she was tied at the hip to only a couple of days before. McKenna-Bruce gives a breakout performance that encapsulates the lively Tara before the horrific event and gives a heartrending performance as Tara battles her inner turmoil.
Overall, How To Have Sex is one of the best films of the year. We will be hearing the names Manning Walker and McKenna-Bruce for years to come.
How To Have Sex screens at Cannes ’23:
Fri May 19 at 1:30PM at DEBUSSY THEATRE
Sat May 20 at 8:30AM at DEBUSSY THEATRE
Sat May 20 at 5:30PM at CINEUM AURORE
Sun May 21 at 11AM at CINEUM SCREEN X
Sun May 21 at 4:30PM at LICORNE
By Amanda Gilmore
Indy (Harrison Ford) is back and once again is in a race against time. This time around he’s attempting to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, Helena Shaw (Phoebe Waller-Bridge) he soon finds himself squaring off against Jürgen Voller (Mads Mikkelsen), a former Nazi who works for NASA.
Director James Mangold has kept intact what’s made this franchise which Steven Spielberg built and made so popular but added his own flair. For those familiar with his most recent films, such as Ford v Ferrari and Logan, you’ll see the shift. And just like in prior entries, the action sequences are fast-paced humour-induced joy rides.
The thrilling opening of Dial is set back in the ’40s during WWII. A younger Indy (Ford but using de-ageing technology) finds himself on a train full of Nazis attempting to retrieve an old relic. When he realizes it’s fake, his pal Basil Shaw (Toby Jones) discovers that the Dial of Destiny is on-board. The two set their mission to steal the dial from the Nazis and Jürgen before it gets placed in Hitler’s hands. As expected Mikkelsen is fantastic as the villain. He plays Jürgen with a sense of superiority that intrigues him. He’s truly a masterclass in acting, excelling in the many franchise villain roles he’s taken.
After that scene, we jump forward to 1969. Unlike prior entries, Dial shows us a scruffy, aged Indiana Jones. We’re introduced to this seasoned version of him in his small New York City apartment. While music blares in the background, he bangs on his neighbour’s door to keep the noise down.
This different version of the beloved hero is inspiring. Ford looks like he’s having the time of his life back in one of his most treasured characters. He does give off the grumpiness that you’d expect Indy at 80 to have. But that’s where the zealous Helena evens him out. Waller-Bridge comes in with the ambition and energy that Indy used to have. She brings out that spirit in our beloved character again. Waller-Bridge is magnetic as Helena and nearly steals the entire show.
As this is the final entry in a cherished franchise there are always going to be people who are disappointed. Disappointed they have to say goodbye and disappointed that it didn’t end the way they expected or wanted it to. There will be some who feel that way about Dial. But overall, it’s a really fun and entertaining time at the cinema while paying homage to the Films that came before it.
Indiana Jones and the Dial of Destiny screens at Cannes ’23:
Thu May 18 at 7PM at GRAND THÉÂTRE LUMIÈRE
Fri May 19 at 8:30AM at GRAND THÉÂTRE LUMIÈRE
By Amanda Gilmore
Cinematographer Sean Price Williams (Good Time) steps into the Director’s chair and delivers the engrossing The Sweet East.
It follows Lillian (Talia Ryder) who’s craving more excitement in her life. While on a high school trip to Washington, D.C. an opportunity arises to get a first glimpse of the wider world. This takes her on a road trip across the cities and woods of the Eastern seaboard of the U.S. Along the way she runs into many different personalities.
The Sweet East plays out like Alice In Wonderland, but is set in present-day America. Lillian initially begins her road trip odyssey by travelling through a glass mirrored door in a karaoke bar. From there she begins the journey that takes her across different ‘worlds’, just as Alice does. She hops across these worlds and experiences different parts of modern-day America. Some may argue that these different realms resemble different cults operating within the country today. Those people wouldn’t be far off. One of the most memorable stops on Lillian’s journey is when she meets Lawrence (Simon Rex) at what can only be considered a white nationalist gathering.
Director Williams and Screenwriter Nick Pinkerton know what the preconceptions of Lawrence will be, as they are what Lillian’s preconceptions are. But Pinkerton and Williams are more concerned with delivering complex characters. Ones who are deeply flawed but will surprise you and make you see them in different lights. For instance, no matter how many times Lillian attempts to seduce Lawrence, his morals won’t allow him to indulge.
Rex gives a controlled, nuanced performance as a white nationalist (who idealizes Nazis and has Hitler’s Autobiography in his house) with set morals on the sexual front. Sure, he considers and romanticizes the idea of being with Lillian. Yet, he’ll never give in to those desires.
As Lillian travels through each ‘world’ it becomes clear that Williams and Pinkerton are delivering a critique on present-day America. Each ‘world’ delivers a different point of American idealism, possibly none more so than when she happens to run into Producer Matthew (Jeremy O. Harris) and Director Molly (Ayo Edebiri) in New York City who demands she is in their film. This clearly plays into the belief in the American Dream. Lillian comes from no film background but because of her look, this duo MUST have her play their lead role. Harris and Edebiri are outstanding and share a magnetic chemistry that demands to be witnessed.
With a subject such as this, you’d assume The Sweet East is a dark Drama. However, it’s actually a delightful witty Comedy. There is perfect comedic timing from the entire Cast and the precision with which the Script is carried out, in the steady hands of Williams, makes for a singular viewing experience.
At the heart of the Film is Lillian played by insurmountable upcoming talent Ryder, who some will know from her powerful performance in Never Rarely Sometimes Always. She commands each frame of the Film in a true star-making role. The Sweet East is really about a teenage girl going on a gritty road trip through the East of America. Most thrilling is that Lillian is never naive or gullible. Ryder plays her with full control of her own circumstances and uses her own devices to get herself out of sticky situations.
The Sweet East screens in part of the Director’s Fortnight sidebar of Cannes ’23 on:
Thu May 18 at 12PM at THÉÂTRE CROISETTE
Thu May 18 at 8:45PM at THÉÂTRE CROISETTE
Fri May 19 at 9AM at LICORNE
Fri May 19 at 11:30AM at ARCADES 1
Fri May 19 at 4:30PM at ALEXANDRE III
By Amanda Gilmore
Sean Penn’s latest is one brutal look into the lives of paramedics in East New York. It follows Ollie (Tye Sheridan) a rookie on the job. At the scene of a shooting, Ollie meets veteran EMT Rut (Penn). From there the two become paired up for Ollie’s first year on the job. Leading to the young paramedic getting a crash course in lifesaving techniques while working with the grizzled New York City veteran.
Black Flies is a raw look at the daily working life of paramedics in Brooklyn. Director Jean-Stéphane Sauvaire doesn’t spare us of just how brutal the job is. And the responsibility it carries — these people are carrying patients’ lives in their hands. It’s a tough and uncomfortable watch as it plays out like a Horror Film about a descent into hell. We watch three different paramedics at different points in their careers.
Ollie is at the very beginning and wants to save people’s lives. He’s shocked at the cruelty and inhumanity he sees every day. Sheridan, who also produces, turns in his greatest performance to date as an EMT attempting to maintain his morality while watching his colleagues lose theirs. There’s enough background given to Ollie that makes us invested in his journey. We hope he holds onto the light.
Rut has been at this for a long time and is at the point of snapping. Penn turns-in a captivating performance as a veteran paramedic who’s basically on his way out. He shows the audience the true struggle of making quick tough decisions. Then there’s Micheal C. Pitt’s character who has already snapped. He tells Ollie that they are the ones who play God as soon as the ambulance doors shut. Stating he decides who lives if he believes they are worthy of it.
Although it’s necessary to have a character who has already hit their breaking point, there are times this character feels like a distraction from the main purpose of the Film. Because Black Flies feels like its intention is to be a love letter to paramedics. The true heroes. Another distraction is the romantic storyline given to Ollie which doesn’t add anything substantial to the narrative.
Black Flies is a Film about the realities and the horror that Paramedics face every day and the mental toll the job takes.
Black Flies screens at Cannes ’23:
Thu May 18 at 10:30PM at GRAND THÉÂTRE LUMIÈRE
Fri May 19 at 11:30AM at LICORNE
Fri May 19 at 11:45AM at GRAND THÉÂTRE LUMIÈRE
Fri May 19 at 2PM hat CINEUM IMAX
Sat May 20 at 1PM at CINEUM SCREEN X
Sun May 21 at 9PM at AGNÈS VARDA THEATRE
…
By Amanda Gilmore
Director Kore-eda Hirokazu pleas for acceptance with this powerful film about morals.
It’s hard to explain what Monster is truly about due to the hidden story within the central narrative. The most straightforward summary would be that Monster is about a young boy, Minato (Soya Kurosawa), who begins acting strange. His single mother Saori (Sakura Ando) begs to get the truth from her only son. He tells her that his teacher Mr Hori (Eita Nagayama) has been harassing him. Saori demands answers from Mr Hori and the Principal, but is Minato telling the full truth?
That overview doesn’t do the narrative the justice it deserves, because of the deeply nuanced script from Yûji Sakamoto. He’s broken down the story into three points of view. Each one tells a different part of the same central story — Minato’s behaviour drastically declines and he claims it’s due to his teacher’s harassment.
The first POV focuses on the story Minato tells his mother. We follow Saori as she demands that action be taken against Mr Hori for what he’s done to her boy. Hirokazu’s most recent Films (Palme d’Or winning Shoplifters and last year’s Broker) have revolved around the theme of family, and what constitutes a family. This first act brings out this theme again but in a different form. This time it’s a single mother, who recently lost her husband, fighting for their son. Ando delivers a commanding performance that captures the nurturing mother and the fierce mama bear that lives within.
It’s once we get to the second POV that the theme of the family begins to shed. The focus is on Mr Hori. These POV changes aren’t first person, but rather Hirokazu placing focus on that character living through the same events. In the first part, we are taking Minato’s word for it just as his mother is. Here, we are seeing behind the curtain what Mr. Hori actually did. We begin to realize there are cracks in the young boy’s story. And we’re gifted a red herring about Minato being a bully to classmate Eri (Hinata Hiiragi).
Sakamoto and Hirokazu play with the timelines of each POV and control when crucial information is revealed, keeping the audience guessing where the story will go. It isn’t until the final POV, that of Minato, that we are given the full side of the story. Like how Eri and Minato are really close friends. They spend their time outside of school with each other, playing games in an abandoned train car in the forest. They find a family with each other.
There will be some who will call this third act a twist, however, it’s really revealing Minato’s truth in a mysterious and secretive way. It mirrors the fact that Minato believes he has to lie to keep himself safe. It plays into the overarching theme of Monster which is a cry for acceptance. More importantly, the negative mental impact inflicted on those scared to live their truth due to the lack of acceptance.
Monster screens at Cannes ’23:
Wed May 17 at 7PM at GRAND THÉÂTRE LUMIÈRE
Thu May 18 at 8:30AM at GRAND THÉÂTRE LUMIÈRE
Thu May 18 at 11AM at AGNÈS VARDA THEATRE
Thu May 18 at 11:15AM at CINEUM IMAX
Thu May 18 at 9:30PM at LICORNE
Fri May 19 at 5:15PM at CINEUM AURORE
By Amanda Gilmore
Cannes ’23 opening night film tells the true story of Jeanne Bécu (Maïwenn). Jeanne was born as the illegitimate daughter of an impoverished seamstress in 1743. As she grew up, and got kicked out of the convent she was forced into, she had two choices — work as a maid like her mother or become a courtesan. She choose the latter as she believed that was a way to live her fullest life. It was that life that lead her to become a mistress to King Louis XV (Johnny Depp). Becoming his favourite but hated among the court.
Maïwenn, who in addition to acting as directs and co-writes, brings us into the Age of Enlightenment in Versailles. Maïwenn shot the Film on location at the Château de Versailles when it was closed to the public on Mondays. From the moment Jeanne steps into the Palace, wealth drips from every angel. The King even gifts her a decadent diamond necklace following their first night.
Many Period Films lose focus on their subject. Especially when another character is more known in history books. Thankfully, Maïwenn doesn’t divert from telling Jeanne’s story. It’s a sad story to watch. She has only two choices due to her class within society, but also due to being a woman. Jeanne Du Barry is really a story about a woman locked inside society’s cage. Yet, Jeanne never loses her light. She had an exuberant personality that Maïwenn embodies. She perfectly captures the daring Jeanne and allows her light to shine through even in the dark.
Learning about this woman who rose the ranks within society is enthralling. Yet, a shorter run time may pack a harder punch. There are recurring moments that only needed to be included twice at most (like the King’s daughters finding ways to embarrass and hurt Jeanne).
Although Jeanne’s life story was challenging, Maïwenn and her co-writers find levity. This is shown through Jeanne’s zest for life and in the relationship she shares with the King. There’s even a recurring gag that runs throughout revolving around how one should never turn their back to the King but rather bounce backwards. The Film highlights the relationship they shared and how the King went against his family to have her at his side. Depp and Maïwenn have good chemistry that helps aid in the romantic storyline.
Jeanne Du Barry screens at Cannes ’23:
Tue May 16 at 7PM at GRAND THÉÂTRE LUMIÈRE
Tue May 16 at 11:30PM at GRAND THÉÂTRE LUMIÈRE
Wed May 17 at 9AM at GRAND THÉÂTRE LUMIÈRE
Wed May 17 at 12PM at GRAND THÉÂTRE LUMIÈRE
Thu May 18 at 10AM at CINEUM IMAX
Thu May 18 at 4:30PM at LICORNE
Sphere Films today announced the acquisition of the Canadian rights for WE LIVE IN TIME by John Crowley (Academy-Award nominated Brooklyn) starring award-winning actors Andrew Garfield and Florence Pugh, currently in production in London, England.
WE LIVE IN TIME is a romantic drama scripted by playwright and screenwriter Nick Payne with Benedict Cumberbatch on board as Executive Producer. Developed and produced by STUDIOCANAL with partners at SunnyMarch: Leah Clarke (The Mauritanian, The Electrical Life of Louis Wain), Adam Ackland (The Mauritanian, The Electrical Life of Louis Wain, Patrick Melrose) and Guy Heeley (Cyrano, Together, Locke), the project is co-financed by Film4 and STUDIOCANAL. International sales are handled by STUDIOCANAL while the U.S. distribution rights have been acquired by A24.
Sphere Films also picked up three titles ahead of the Cannes Film Festival. They include ABOUT DRY GRASSES (Official Competition) by the esteemed, award-winning Turkish filmmaker Nuri Bilge Ceylan, CLUB ZERO (Official Competition) by Austrian filmmaker Jessica Hausner, who has regularly premiered her films in Cannes, and BONNARD PIERRE ET MARTHE (Cannes Premiere) by Martin Provost (The Good Wife, Séraphine) which stars Vincent Macaigne, Cécile de France and Stacy Martin.
(Photo credit: Getty Images)
Our Amanda Gilmore has arrived in Cannes to deliver us some coverage of the Festival, its stars and most buzzy films! The Festival is on now through May 27, 2023. Today, she attended the Press Conference for this year’s Jury, featuring some very accomplished names in the industry including Paul Dano, Brie Larson, Ruben Östlund and Julia Ducornau.
Some quotes from today, starting with Paul Dano.
Dano: “I’m so excited to be here and be surrounded by these people”. “I’ve been going every year since I was a teenager to the Cannes Festivalto see what films I wanted to seek-out, especially foreign filmmakers.”.
He also comments on the current Writers’ Strike taking place in Hollywood and both him and his wife Zoe Kazan working hard to create awareness for the cause.
Dano: “My wife is currently on the picket line with our (child) and when I get home I will join her on the picket line.”.
Julia Ducournau, Palme d’Or-winning Director of acclaimed Titane also is a jury member and comments about the Festival.
Ducournau: “I was extremely happy they let me do this”. “I don’t want to know anything about the films before I see them. You come here for open-mindedness.”.
She comments on handing on the torch and what the impact of winning a Palme d’Or can have on one’s career.
Ducournau: “Giving the Palme d’Or to someone can really change their life. It’s the Holy Grail!”.
Ruben Östlund, Director of Oscar-nominated Triangle of Sadness, speaks about being Jury President.
Östlund: “You try to crate a certain atmosphere”. “People shouldn’t be scared to say what they want.
We don’t have to be smart, we just have to have the first instinct and speak what we think.”.
He is asked what he thinks of this year’s in-competition films:
Östlund: “We’re going to keep our mouths completely shut this year.”.
Academy Award-winning Actress Brie Larson comments on her approach to work and having expectations going into see a film.
Larson: “I take the same level and care in everything. It doesn’t matter the budget, a film is a film”. “I love going into films without knowing anything”.
Remember to bookmark this link and check daily for updates, reviews and sightings from this year’s Festival!
Some sights from Cannes from Amanda:
(Photo credit: Amanda Gilmore)
To celebrate the upcoming 2023 edition of the Cannes Film Festival, MUBI, the film distributor, production company and global streaming service, presents a special series throughout May focusing on twelve critically acclaimed films from the past 20 years of the festival.
Included in the focus are two MUBI exclusives: Maksym Nakonechnyi’s harrowing drama Butterfly Vision (2022) and Kira Kovalenko’s poignant and daring Unclenching the Fists (2021) which won the Un Certain Regard Award at the 2021 Cannes Film Festival.
Further films in the focus include Yorgos Lanthimos’ unsettling drama The Killing of a Sacred Deer (2017), Karim Aïnouz’s Un Certain Regard winner The Invisible Life of Euridice Gusmão, Jessica Hausner’s sci-fi thriller Little Joe (2019), the Taviani’s brothers Palme d’Or winner Padre Padrone (1977) and Radu Jude’s gripping drama The Potemkinists (2022).
The Invisible Life of Euridice Gusmão (Karim Aïnouz, 2019) – May 16
Rio de Janeiro, 1950. Euridice and Guida are two inseparable sisters. Each has a dream: becoming a renowned pianist, or finding true love. Because of their father they are forced to live without one another. Separated, they take control of their destiny, while never giving up hope of being reunited.
Butterfly Vision (Maksym Nakonechnyi, 2022) – May 17 | MUBI EXCLUSIVE
After spending months as a prisoner in Donbas, Ukrainian aerial reconnaissance expert Lilia returns home to her family. But the trauma of captivity continues to torment her in dreamlike ways. Something growing deep within Lilia will not allow her to forget, yet she will fight to liberate herself.
The Lunchbox (Ritesh Batra, 2013) – May 18
A mistaken delivery in Mumbai’s famously efficient lunchbox delivery system connects a young housewife to a stranger in the dusk of his life. They build a fantasy world together through notes in the lunchbox. Gradually, this fantasy threatens to overwhelm their reality.
The Killing of a Sacred Deer (Yorgos Lanthimos, 2017) – May 19
Steven, an eminent cardiothoracic surgeon, is married to Anna, an ophthalmologist. They live a healthy family life with their two children. Their lives take a darker turn when Martin, a fatherless youth who Steven has covertly taken under his wing, insinuates himself further into the family’s life.
The Blackout (Abel Ferrara, 1997) – May 20
Dumped by his girlfriend (Béatrice Dalle) because of his excesses with alcohol and drugs, Matty (Matthew Modine), a Hollywood actor sick and tired of his life, spends a wild night with his friend Mickey (Dennis Hopper), remembering absolutely nothing the next day. Then nightmares start.
Woman at War (Benedikt Erlingsson, 2018) – May 21
Fifty-year-old Halla seemingly leads a quiet existence. However, she is actually a radical eco-activist who has declared a one-woman-war on the local aluminum industry. In the midst of her environmental crusade, Halla receives the surprising news that her application to adopt a child was approved.
The Skin (Liliana Cavani, 1981) – May 22
The wartime experiences of Curzio Malaparte, who served as the American Commanding General’s Italian liaison during the American liberation of Naples.
Hyenas (Djibril Diop Mambéty, 1992) – May 23
Dramaan Drameh is a respected, convivial shopkeeper in the tiny village of Colobane. But a forgotten act of cruelty committed thirty years in his past comes back to haunt him when the young girl he impregnated and abandoned returns seeking revenge.
Padre padrone (Paolo Taviani, Vittorio Taviani, 1977) – May 24
The true story of the life of Gavino Ledda, the son of a Sardinian shepherd, and how he managed to escape his harsh, almost barbaric existence by slowly educating himself, despite violent opposition from his brutal father.
The Potemkinists (Radu Jude, 2022) – May 25 | MUBI EXCLUSIVE
In 1905, the sailors on the battleship Potemkin are given political asylum in Romania – an act of defiance against Russia. In 2021, a sculptor wants to create an artwork inspired by the event.
Unclenching the Fists (Kira Kovalenko, 2021) – May 26 | MUBI EXCLUSIVE
Ada is stuck. Living in a dead-end industrial town in the North Ossetia section of Russia, she is caught in the tight grip of the men in her life. But when her older brother returns home and her domineering father suddenly falls ill, Ada finally sees a possible path to independence.
Little Joe (Jessica Hausner, 2019) – May 27
Single mother Alice is a dedicated plant breeder at a corporation engaged in developing new species. She has engineered a special crimson flower: if kept at the ideal temperature and spoken to regularly, it makes its owner happy. Against company policy, Alice takes one home for her teenage son, Joe.
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