Rumours, a cautionary dramedy cum erotico-ministerial techno-thriller and provisional GötterdÀmmerung written and directed by Guy Maddin, Evan Johnson and Galen Johnson, has been accepted, with only minimal reservations, misgivings, caveats, and scruples, by the Official Selection committee of the Cannes Film Festival, a regional cinema conference and entertainment expo held every single year, almost without exception, in the south of France.
The famous festival, named for the humble, salt-of-the-earth fishing village in which its screenings are held and which, in 154 BC, was the site of a brief but violent conflict between the troops of Quintus
Optimus and the Oxbii, is known for its sandy beaches and the noonday torpor of its local vendors.
Rumours’ Canuck helmers had this to say: “Compelled by the looming doomsdays with which we are become too familiar, seduced by the eschatological sinuosities inscribed provocatively across our sulphur-clotted skies, with nothing but hopelessness to console ourselves, and with our chill-blasted souls much in need of the warmth sometimes only nostalgia can provide, we directors have turned our despairing attentions, rosary beads chattering like teeth in our skeletal fingers, to the quaint old customs of diplomacy — namely the G7!”
Along with the above-quoted cri de coeur, the three co-helmers have released a photographic still image from their film, an image that it would hardly be an exaggeration to call “a moral triumph”, nor would anyone be mocked or criticized for saying so.
Addendum from Executive Producer Ari Aster: “The fact that Guy Maddin, the most idiosyncratic and original Canadian filmmaker of the ’20s and ’30s, found Evan and Galen Johnson, the most idiosyncratic and original Canadian filmmakers of the moment, is miraculous. The fact that they have departed so freely from their brilliant work of the last decade, while still retaining their prodigious gift for hyperbolic wordplay and their endless comic and aesthetic invention, is more miraculous yet. RUMOURS is stoopid and hilarious and wonderful, and it features the best cast ever assembled. The spirit of Buñuel and Monty Python and overwrought ’70s television (and of course the Maddin/Johnson sensibility, which has no real analogue) is alive and strange.”
Directed by: Guy Maddin, Evan Johnson, Galen Johnson
Written by: Guy Maddin, Evan Johnson, Galen Johnson
Starring: Cate Blanchett, Alicia Vikander, Roy Dupuis, Charles Dance, Denis MĂ©nochet, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira, Zlatko BuriÄ
Produced by: Liz Jarvis, Philipp Kreuzer, Lars Knudsen
Executive Produced by: Andrew Karpen, Kent Sanderson, Ari Aster, Jörg Schulze, Phyllis Laing, Blair Ward, Anders Erden, Lauren Case, Eric Harbert, Gillian Hormel, Mary Aloe, Stefan Kapelari, Gåbor Sipos, Gåbor Rajna
Sphere Films today confirmed David Cronenbergâs highly anticipated The Shrouds will have its world premiere in the Official Competition at the Festival de Cannes in May. The film starring Vincent Cassel (La Haine, IrrĂ©versible, Black Swan), Diane Kruger (Inglourious Basterds, In the Fade), Guy Pearce (Memento, LA Confidential, The Hurt Locker) and Sandrine Holt (Daredevil: Born Again, House of Cards) will open in theatres across Canada later this year.
The Shrouds is written and directed by David Cronenberg (Crimes of the Future, A History of Violence, Eastern Promises, Crash) and produced by Martin Katz for Prospero Pictures (A Dangerous Method, Cosmopolis, Maps to the Stars), SaĂŻd Ben SaĂŻd (Elle, Maps to the Stars, Last Summer) and Anthony Vaccarello for Saint Laurent (Strange Way of Life, Trailer of the Film That Will Never Exist: âPhony Warsâ). This is the seventh time that a David Cronenberg film has been selected to compete in Cannes. His films have previously won a Special Jury Award (Crash) and Best Actress Award (Maps to the Stars). â The Shrouds also reunites Cronenberg with Cassel, who previously collaborated on Eastern Promises and A Dangerous Method.
“Being selected for the Cannes Film Festival is an immense honour, but to return for the seventh time is incredibly humbling. I look forward to sharing this film with the world on such a prestigious stage,” said David Cronenberg.
Shot on location in Toronto in 2023, The Shrouds tells the story of Karsh, 50, a prominent businessman. Inconsolable since the death of his wife, he invents GraveTech, revolutionary and controversial technology that enables the living to monitor their dear departed in their shrouds. One night, multiple graves, including that of Karsh’s wife, are desecrated. Karsh sets out to track down the perpetrators.
âThe Shrouds is an audacious and human film, so apt for our times,â said Martin Katz of Prospero Pictures. âIt also marks our fifth collaboration with David Cronenberg and our second collaboration with SaĂŻd Ben SaĂŻd, both lasting relationships and deep friendships of which we are very proud.â
The Shrouds is produced by Martin Katz for Prospero Pictures, SaĂŻd Ben SaĂŻd, and Anthony Vaccarello for Saint Laurent in association with Telefilm Canada, Ontario Creates, Eurimages, and Canal +.
ABOUT SPHERE FILMS
One of Canadaâs foremost distributors, Sphere Films serves both the local and international markets with premium content across all genres. Sphere Films delivers the best of Canadian and international cinema, including the Academy Award-winner for Best Picture, Bong Joon-Ho’s Parasite. Other recent releases include the critically acclaimed films Crimes of the Future and Portrait of a Lady on Fire, Academy Award-nominated The Worst Person in the World, the Quebecois produced Arsenault et fils and Maria Chapdelaine. The Sphere Films brand belongs to Sphere, a Canadian film and television industry leader with offices in MontrĂ©al and Toronto.
ABOUT PROSPERO PICTURES
Prospero Pictures is the film and television production company founded by Martin Katz, whose credits include Hotel Rwanda, which was nominated for three Academy Awards and three Golden Globe Awards. For over two decades, Prospero has produced films with celebrated director David Cronenberg, including A Dangerous Method, which had its world premiere in competition at the Venice Film Festival, Spider and Cosmopolis which premiered in competition at the Cannes Film Festival, and Maps to the Stars, for which Julianne Moore received the Best Actress Palme dâOr at Cannes. Prosperoâs television projects include Ice Road Truckers, one of History Channelâs highest-rated documentary series and Spectacle: Elvis Costello withâŠ, an award-winning music and performance series hosted by Elvis Costello with appearances by Bono, Sting, Bruce Springsteen, Sheryl Crow, Herbie Hancock, Rufus Wainwright, ReneÌe Fleming and Diana Krall, co-produced with Rocket Picturesâ David Furnish and Sir Elton John.
ABOUT SBS PRODUCTIONS
SBS Productions was founded by the French-Tunisian film producer, SaĂŻd Ben SaĂŻd, in 2010.
SBS is driven by a commitment to produce authors internationally renowned and finds its unity through the advocacy of a cinema that is both demanding and accessible. Its most recent productions received awards throughout the world, among which Paul Verhoevenâs Elle which won the Best Foreign Picture at the 2017 Golden Globes, Nadav Lapidâs Synonyms which was awarded with the 2019 Golden Bear at the Berlinale and Kleber Mendonça Filhoâs Bacurau which received the 2019 Jury Prize in Cannes, Ira Sachsâ Passages which was selected at Sundance festival in 2023 and Catherine Breillatâs Last Summer, which premiered in the Competition at Cannes 2023.
ABOUT SAINT LAURENT PRODUCTIONS
Saint Laurent Productions is a registered subsidiary of the house, marks the first fashion house to count the full-fledged production of films among its activities. The division, envisioned by Anthony Vaccarello for Saint Laurent, is in line with Vaccarelloâs assured steering of the brand into the future, while echoing the cinematic breadth and nuances of his collections.
After its debut at Cannes last year, ABOUT DRY GRASSES and won accolades, it is about to get a release here in Canada via Sphere Films.
Theatrical Release Locations:
March 1:
Toronto, ON â TIFF Lightbox
Ottawa, ON â ByTowne Cinema
Vancouver, BC â VIFF Centre
March 8:
Waterloo, ON â Princess Cinemas
Edmonton, AB â Edmonton City Centre
March 29:
Kingston, ON â The Screening Room
*Additional markets to be announced.
Director: Nuri Bilge Ceylan
Writer: Nuri Bilge Ceylan, Akın Aksu, Ebru Ceylan
Cast: Deniz Celiloglu, Merve Dizdar, Musab Ekici
Synopsis: Samet, a young art teacher, is finishing his fourth year of compulsory service in a remote village in Anatolia. After a turn of events he can hardly make sense of, he loses his hopes of escaping the grim life he seems to be stuck in. Will his encounter with Nuray, herself a teacher, help him overcome his angst?
About Dry Grasses had its World Premiere at the 2023 Cannes Film Festival where Merve Dizdar was honoured with the Best Actress Award. The film also screened at TIFF and NYFF.
By Amanda Gilmore
No one does a courtroom drama better than the French. Last year Director Alice Diop brought us the engrossing Saint Omer and this year Director Justine Triet brings us the riveting Anatomy of a Fall.
It follows Sandra (Sandra HĂŒller), a well-esteemed writer, who lives in a secluded cabin in the French Alps with her husband Samuel (Samuel Theis) and their partially blind son Daniel (Milo Machado Graner). One day, Daniel returns from walking the family dog and finds his father face down in the snow dead at the foot of the cabin. The investigation canât determine if this was suicide or homicide leading to Sandra being arrested and tried for his murder.
The opening of Anatomy of a Fall has Sandra being interviewed by a student about her work. Abruptly, rap music blares and shakes through the cabin. Sandra informs the student that her husband enjoys listening to music loudly while he works on some repairs. At first glance, this scene seems unimportant. Yet, nothing about this Film should be taken at first glance.
Triet and co-writer Arthur Harari have crafted a complex story thatâll leave you second-guessing everything. This initial scene becomes evidence later in court. As does many moments from the mundane to the damaging. The most damaging is an audio recording of a heated argument between the couple that ended with glasses breaking and punches thrown. But by whom? Sandra or Samuel?
At the start of the trial, the prosecutor informs the court that Sandraâs bisexual and has had affairs. Itâs clear this is just as important in the determination of her innocence as anything shown as evidence. Just as in many high-profile cases that are considered difficult to determine, the defendantâs private matters are dissected.
Triet doesnât want to give you answers. She wants to show you the evidence presented and have you decide for yourself. Was it suicide? Was it homicide? What makes things more challenging to make a concrete decision is HĂŒller who gives a tour-de-force performance. Sheâs mysterious, intriguing, cruel, funny and nurturing. Itâs an incredible portrayal and one of the yearâs finest.
No matter what conclusion youâve come to, Anatomy of a Fallâs superpower is the ability to leave room for the audience to debate. Because some will believe she did and some will believe she didnât. Even more impressive, regardless of which side of the coin you fall on, every viewer will pinpoint a different part of the âevidenceâ to prove their reasoning. Much like the reality we face in publicized high-profile court cases.
Anatomy of a Fall screens at Cannes â23:
Sun May 21 at 4PM at GRAND THĂĂTRE LUMIĂRE
Mon May 22 at 8:30AM at AGNĂS VARDA THEATRE
Mon May 22 at 9AM at CINEUM IMAX
Mon May 22 at 12PM at GRAND THĂĂTRE LUMIĂRE
Mon May 22 at 9:30PM at LICORNE
Tue May 23 at 9AM at CINEUM AURORE
Wed May 24 at 9AM at CINEUM SCREEN X
Quentin Tarantino returned to Cannes, site of where he won the 1994 Palme d’Or with Pulp Fiction. He appeared as a guest of the Directors’ Fortnight competition, presenting a secret screening of the John Flynn classic ROLLING THUNDER. On why he chose this Film specifically, he tells the audience that he saw it opening night back in 1977 with his mom, the Film screening as part of a double-billing to ENTER THE DRAGON. He wound-up loving ROLLING THUNDER so much that he almost forgot about ENTER THE DRAGON!
Tarantino comments on political messages in his films. He spoke about how he can watch a buddy cop movie and not think about the political messages behind it, because he doesn’t know if there is one. But when I comes to the films he writes and directs, he says “If there are political messages in the film they are there because I put them there.”.
While Tarantino is known for graphic violence in his films, he does draw the line, stating, “I don’t agree with killing animals”. He adds, “I know I have seen some gruesome Horror films that didn’t have to be that way but almost always it’s not just the violence that I have a problem, with it’s usually badly done. There is an incompetent factor in there.”.
To this day, he cites Brian De Palma as his biggest influence. “I’m not gonna sign up for the most popular dude. That’s not my thing. Part of loving De Palma was getting into fights about him”. “The satire and comedy inside his thrillers even some of his action films are hysterical.”.
He also comments on re-writing history with revenge in his films. “In the case of Inglorious Basterds I didn’t think that I was going to kill Hitler at the end. That wasn’t the plan.”. “Then they’re in the theatre and I’m like ‘Hey, this is kinda working out. They actually might be successful at this. But I wrote myself in a cornerâŠthen all of a sudden a thought came to me ‘Just fucking kill him!’ and I’m like ‘Can I do that?’, then I’m like ‘Yea, it’s my story, I can do whatever the fuck I want!'”. “With Once Upon A Time in Hollywood⊠the reason I wrote the whole story was the save Sharon and kill those motherfuckers and have them go to the wrong house and REALLY THE WRONG HOUSE!“.
Lastly, on his tenth and final upcoming film, he is cryptic about it. “You’ll just have to wait and seeâŠto be continued.”.
By Amanda Gilmore
Sam Levinsonâs latest TV Series is Euphoria meets 50 Shades of Grey, while set in the world of a Pop Superstar.
The first two episodes, which screened Out of Competition at Cannes, sets up the mindset of Jocelyn (Lily-Rose Depp). She recently lost her mother which led to a nervous breakdown that derailed her last tour. Now sheâs releasing anticipated new music with the hope to be the greatest, sexiest pop star in America. However, sheâs still grieving over her loss, leaving her vulnerable.
Cue club owner Tedros (Abel âThe Weekndâ Tesfaye), who sees the vulnerability and takes advantage of it. He swoops in and helps her remix her newest single. As Jocelyn is already underwhelmed by the original version, Tedros ignites a passion within her again. But will this new romantic-professional relationship bring new heights or the deepest of lows for the Popstar?
There are lots of provocative sexualized scenes in The Idol. For those familiar with Euphoria, the scenes here are dialed-up a notch further. However, these provocative scenes are being used to highlight bigger themes and messages within the Script. Here, Levinson â and Co-Creators Tesfaye and Reza Fahim â are dissecting the highs and lows of a life of a pop icon.
In the first episode, a compromising photo gets released online of Jocelyn. It shows the singer with ejaculate on her face. Everyone on her team immediately attempts to spin this into a positive light for the star. This brings us to the life of the busy bees that surround and âmanageâ a popstar. Additionally, it highlights how they keep her protected from these horrible things for fear of another break.
The people surrounding Jocelyn care for her deeply. Some even take on the role of pseudo-parents (Hank Azaria and DaâVine Joy Randolphâs characters) even if they donât always know whatâs best. The person who will move mountains for her is her best friend and Assistant Leia (Rachel Sennott). Sennot is superb as the caring friend whoâs the only one who sees Tedros as the snake he is.
In his acting debut, Tesfaye, dawning a Rattail, gives a chilling performance as the manipulative Tedros. In these first two episodes, the Actors share tantalizing scenes that people will have mixed feelings over. However, once again Levinson is using them to inform the viewer of the mental states of his characters. Tedros is controlling while Jocelyn succumbs to his demands.
Depp gives a groundbreaking performance that will skyrocket her character. And the Supporting Cast is outstanding. To name a few not priorly mentioned: Troye Sivan, Jane Adams and Blackpinkâs Jennie Kim. And at the end of the second episode, Red Rocket breakout Suzanna Son delivers a show-stopping performance while sitting at a piano.
Weâre excited to see where the Series goes from here.
The Idol screens at Cannes â23:
Mon May 22 at 10:30PM at GRAND THĂĂTRE LUMIĂRE
By Amanda Gilmore
Finnish Writer-Director Aki KaurismÀki is back with his signature deadpan humour in this delightful romance about two lost souls.
Ansa (Alma Pöysti) is a middle-aged woman who goes from job to job. Holappa (Jussi Vatanen) is a middle-aged man who loses work due to drinking on the job. By chance, they meet one night in a bar in Helsinki. However, a subsequent series of terrible mishaps attempts to keep them apart. But that wonât stop them from attempting to be with the first loves of their lives.
KaurismĂ€ki sets this Tragicomedy in the present day and focuses on the working class in Helsinki. When we first meet Ansa, sheâs working in a supermarket and takes expired food home with her. This ultimately leads her to be fired and she finds another job that will help cover the bills. Holappa works in construction and spends all his spare time drinking in bars with his colleagues.
Thereâs a detachment when they lose their jobs. As though they expect these bad things to happen to them, itâs part of their life. KaurismĂ€ki has created a world filled with melancholic characters. Even the men who are drinking in the bars â and there are many bars â appear devoid of hope. There are multiple scenes where the characters turn radios and hear news of the war in Ukraine.
In true KaurismĂ€ki fashion, his deadpan humour succeeds in this world filled with melancholy thanks to his expert Script and his superb casting. Ansa and Holappaâs romance is the spark that both characters need to find joy again. Itâs the splash of colour they both needed in their dreary lives and this heavy world. Pöysti and Vatanen deliver intricate deadpan performances and share an undeniable chemistry.
Fallen Leaves is a funny, whimsical tragicomedy that will leave you with a well of feelings.
Fallen Leaves screens at Cannes â23:
Mon May 22 at 4:45PM at GRAND THĂĂTRE LUMIĂRE
Tue May 23 at 9AM at CINEUM IMAX
Tue May 23 at 12PM at GRAND THĂĂTRE LUMIĂRE
Tue May 23 at 4:45PM at LICORNE
Tue May 23 at 5PM at AGNĂS VARDA THEATRE
Wed May 24 at 9AM at CINEUM AURORE
Thu May 25 at 11:30AM at CINEUM SCREEN X
By Amanda Gilmore
Jude Law is superbly horrendous as Henry VIII in Director Karim AĂŻnouzâs first English-language Film.
Firebrand begins with the Kingâs sixth and final wife, Catherine Parr (Alicia Vikander), left in charge while heâs away. When he returns, obese with swollen oozy legs, Catherine is forced to the side once again. She sees a better way to rule and hopes to influence her husband in the right direction. However, will that determination cause her to end up like her husbandâs prior five wives?
At the beginning of the Film, we are told that history is mainly told about men and wars. Firebrand is telling history about neither of the two. Itâs proudly focusing on the brave, intelligent Catherine. Itâs the first film about Henry VIII told actually from a Feminist point of view.
Catherine cares for all of the prior wivesâ children as though they were her own. She is generous to her servants. She even warns her childhood friend whose a vocal critic of the King of his return, even though sheâs aware that this act of rebellion may lead to her death. Vikander gives a fierce performance as the courageous Catherine. Itâs one that will be among the finest of the year.
Director AĂŻnouz delivers a brutal Historical Drama that forces you to watch the inhumanity of Henry VIII. His wickedness fully unleashes when his fragile ego leads him to concoct a belief that Catherine has been cheating on him. While Catherine is pregnant, Henry hits, drags and attempts to rape her over this false belief heâs created. AĂŻnouzâs unflinching direction focuses on this barbarity. Itâs a performance from Law unlike any other in his already remarkable career. Heâs truly grotesque, revelling in his cruelty. The pairing of Vikander and Law makes for one enthralling showdown that leads to one of the most satisfying film endings.
Firebrand screens at Cannes â23:
Sun May 21 at 7:30PM at GRAND THĂĂTRE LUMIĂRE
Mon May 22 at 9AM at GRAND THĂĂTRE LUMIĂRE
Mon May 22 at 1:30PM at AGNĂS VARDA THEATRE
Mon May 22 at 2PM at CINEUM IMAX
Mon May 22 at 7PM at LICORNE
Tue May 23 at 12PM at CINEUM AURORE
Wed May 24 at 12PM at CINEUM SCREEN X
By Amanda Gilmore
Director Martin Scorsese is back with the ’20s set Killers of the Flower Moon. The story, adapted from the true story and novel by David Grann, focuses on members of the Osage Native American tribe of Osage County, Oklahoma. During the â20s, oil was found on the tribeâs land. It gave them wealth but also made them a target. Soon after discovering the oil, White people flocked to Osage Country in search of wealth. William Hale (Robert De Niro) was one of the first ones there. He built a strong foundation with the tribe and is considered a comrade. When Haleâs nephew Ernest (Leonardo DiCaprio) comes back from the war he returns to Haleâs home. Before long, Ernest has become smitten with wealthy Osage Mollie (Lily Gladstone). Once Hale gets word he lets it slip that if Ernest were to marry Mollie he would inherit all her money when she dies.
No one does it like Scorsese. The celebrated Filmmaker has managed to make the 3 1/2-hour runtime breezes by. This is thanks to his meticulous pacing, the engrossing story and the powerhouse performances. None more so than Gladstone whose surrounded by two heavyweights in the industry yet commands our attention. Sheâs truly a force to be reckoned with.
Killers of the Flower Moon shines the spotlight on the atrocities that happened to the Osage tribe by white people. Hale is the ringleader of the heinous acts inflicted on the Osage people. De Niro is in top form as the greedy, savage man whoâll stop at nothing for wealth. Itâs impossible to think that anyone could pull off this role other than him. Heâs our entry into the corrupt system that was at play by White people against the Osage tribe.
Screenwriters Scorsese and Eric Roth expose the system that aids in the crimes Hale orders. That system includes doctors, insurance brokers and more who work together to inflict and keep horrendous acts secret. Hale was a master manipulator, even to his own Nephew. Upon first introduction, itâs obvious that Ernest is gullible, slightly daft and money-obsessed. DiCaprio is a powerhouse that delivers a character that has the ability to manipulate himself and the audience.
The Film might be set in the â20s, however, there is a direct correlation to today, most prominently with the missing and murdered Indigenous women. Haleâs acts are leading to the deaths of the Osage people but no one investigates. As expected, Scorsese doesnât shy away from the brutality inflicted on the Osage people. One scene shows Mollieâs deceased sister Annaâs body being cut up by doctors, who claim that was part of their examination, in front of the public.
Killers of the Flower Moon is a Film that rarely gets made. Scorsese deserves credit for giving a voice to the Osage tribe and showing the atrocities that happened to them. Itâs an important Film that will change minds, open hearts and hopefully will make people want to fight for the heinous injustices still being committed against Indigenous peoples across the world.
Killers of the Flower Moon screens at Cannes â23:
Say May 20 at 7PM at GRAND THĂĂTRE LUMIĂRE
By Amanda Gilmore
Writer-Director Jonathan Glazerâs fourth feature is a chilling look at the banality of evil. Freely adapted from Martin Amisâs Holocaust novel, The Zone of Interest follows the domestic life of the family of Auschwitz camp commandant Rudolf Höss (Christian Friedel).
Leave it to Glazer to deliver one of the most spine-chilling films of the year. The majority of the Film observes the idyllic life of this horrific family. The opening scene shows them sitting in a field taking in the sunshine. Itâs beautiful, peaceful. However, Glazer doesnât make this his actual opening shot. Instead, we sit watching a black screen for about 3 minutes as the disquieting score by Mica Levi blares. The Score is so integral to the atmosphere of the Film itâs hard to believe The Zone of Interest would be as successful without it.
This opening immediately tells us that all isnât right with this family. Before long, they return home to their vast house with a lush gardenâŠjust on the other side of the barbed-wire-topped wall of the camp. Glazer doesnât show us the atrocities that are happening over the wall. He doesnât have to. We know whatâs happened. Other Films have depicted it and weâve learned about it in school. Instead, he stays with this monstrous family rarely leaving the house and grounds.
Even without showing the depravity within the camp, Glazerâs masterful Script and Direction manage to deliver one of the most terrifying, unsettling Holocaust Films.
The inhumanity of the dialogue is where it begins. Rudolf has a meeting with a fellow Nazi about designs for new gas chambers and crematoriums. Some of the most cruel remarks come from Rudolfâs wife Hedwig (Sandra HĂŒller who gives a terrifying performance). When her perfect life becomes threatened she snaps at her servants. Saying, âYou know I could have my husband burn you right?â These remarks take a stark look at the banality of evil that churns your stomach. Itâs unbearable to be around this family, yet The Zone of Interest is utterly captivating you canât find yourself escaping their inhumanity.
Itâs hard to focus on these subjects without giving them the upper hand. After all, we are focusing solely on this Nazi family. But Glazerâs careful hands keep the attention on the atrocities happening over the wall, that are directly linked to Rudolf. There are quiet moments of Hedwig sitting at the dining table speaking to fellow wives of Nazis. The focus isnât on their conversation but on the loud gunshots coming from the camp. As their youngest son plays in his room he hears guards telling a prisoner they are going to drown him. And some of the most powerful sounds and imagery come as the family sits in the garden while screams are heard and smoke leaves chimneys in the background.
The Zone of Interest is one of the most impactful, heartbreaking, and terrifying Films of the year. Itâs not to be missed.
THE ZONE OF INTEREST screens at Cannes â23:
Fri May 19 at 7PM at GRAND THĂĂTRE LUMIĂRE
Sat May 20 at 8:30AM at GRAND THĂĂTRE LUMIĂRE
Sat May 20 at 11:15AM at CINEUM IMAX
Sat May 20 at 6:45PM at LICORNE
Sat May 20 at 9PM at AGNĂS VARDA THEATRE
Sun May 21 at 3:15PM at CINEUM AURORE
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