#CANNES: “ANATOMY OF A FALL” REVIEW
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 Hüller), 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 can’t 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 that’ll 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 Sandra’s bisexual and has had affairs. It’s 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 defendant’s private matters are dissected.
Triet doesn’t 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 Hüller who gives a tour-de-force performance. She’s mysterious, intriguing, cruel, funny and nurturing. It’s an incredible portrayal and one of the year’s finest.
No matter what conclusion you’ve come to, Anatomy of a Fall’s superpower is the ability to leave room for the audience to debate. Because some will believe she did and some will believe she didn’t. Even more impressive, regardless of which side of the coin you fall on, every viewer will pinpoint a different part of the ‘evidence’ to prove their reasoning. Much like the reality we face in publicized high-profile court cases.
Anatomy of a Fall screens at Cannes ’23:
Sun May 21 at 4PM at GRAND THÉÂTRE LUMIÈRE
Mon May 22 at 8:30AM at AGNÈS VARDA THEATRE
Mon May 22 at 9AM at CINEUM IMAX
Mon May 22 at 12PM at GRAND THÉÂTRE LUMIÈRE
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
#CANNES: QUENTIN TARANTINO CANNES 2023 Q&A
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 corner…then 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 see…to be continued.”.
#CANNES: “THE IDOL” REVIEW
By Amanda Gilmore
Sam Levinson’s 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 she’s releasing anticipated new music with the hope to be the greatest, sexiest pop star in America. However, she’s still grieving over her loss, leaving her vulnerable.
Cue club owner Tedros (Abel ‘The Weeknd’ 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 — and Co-Creators Tesfaye and Reza Fahim — 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 ‘manage’ 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 Da’Vine Joy Randolph’s characters) even if they don’t always know what’s 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 who’s 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 Blackpink’s 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.
We’re excited to see where the Series goes from here.
The Idol screens at Cannes ’23:
Mon May 22 at 10:30PM at GRAND THÉÂTRE LUMIÈRE
#CANNES: “FALLEN LEAVES”
By Amanda Gilmore
Finnish Writer-Director Aki Kaurismäki 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 won’t stop them from attempting to be with the first loves of their lives.
Kaurismäki sets this Tragicomedy in the present day and focuses on the working class in Helsinki. When we first meet Ansa, she’s 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.
There’s a detachment when they lose their jobs. As though they expect these bad things to happen to them, it’s part of their life. Kaurismäki has created a world filled with melancholic characters. Even the men who are drinking in the bars — and there are many bars — appear devoid of hope. There are multiple scenes where the characters turn radios and hear news of the war in Ukraine.
In true Kaurismäki fashion, his deadpan humour succeeds in this world filled with melancholy thanks to his expert Script and his superb casting. Ansa and Holappa’s romance is the spark that both characters need to find joy again. It’s 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 ’23:
Mon May 22 at 4:45PM at GRAND THÉÂTRE LUMIÈRE
Tue May 23 at 9AM at CINEUM IMAX
Tue May 23 at 12PM at GRAND THÉÂTRE LUMIÈRE
Tue May 23 at 4:45PM at LICORNE
Tue May 23 at 5PM at AGNÈS VARDA THEATRE
Wed May 24 at 9AM at CINEUM AURORE
Thu May 25 at 11:30AM at CINEUM SCREEN X
#CANNES: “FIREBRAND” REVIEW
By Amanda Gilmore
Jude Law is superbly horrendous as Henry VIII in Director Karim Aïnouz’s first English-language Film.
Firebrand begins with the King’s sixth and final wife, Catherine Parr (Alicia Vikander), left in charge while he’s 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 husband’s 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. It’s proudly focusing on the brave, intelligent Catherine. It’s the first film about Henry VIII told actually from a Feminist point of view.
Catherine cares for all of the prior wives’ 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 she’s aware that this act of rebellion may lead to her death. Vikander gives a fierce performance as the courageous Catherine. It’s one that will be among the finest of the year.
Director Aïnouz 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 he’s created. Aïnouz’s unflinching direction focuses on this barbarity. It’s a performance from Law unlike any other in his already remarkable career. He’s 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 ’23:
Sun May 21 at 7:30PM at GRAND THÉÂTRE LUMIÈRE
Mon May 22 at 9AM at GRAND THÉÂTRE LUMIÈRE
Mon May 22 at 1:30PM at AGNÈS 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
#CANNES: “KILLERS OF THE FLOWER MOON” REVIEW
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 ‘20s, oil was found on the tribe’s 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 Hale’s nephew Ernest (Leonardo DiCaprio) comes back from the war he returns to Hale’s 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. She’s 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 who’ll stop at nothing for wealth. It’s impossible to think that anyone could pull off this role other than him. He’s 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, it’s 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 ‘20s, however, there is a direct correlation to today, most prominently with the missing and murdered Indigenous women. Hale’s acts are leading to the deaths of the Osage people but no one investigates. As expected, Scorsese doesn’t shy away from the brutality inflicted on the Osage people. One scene shows Mollie’s deceased sister Anna’s 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. It’s 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 ’23:
Say May 20 at 7PM at GRAND THÉÂTRE LUMIÈRE
#CANNES: “THE ZONE OF INTEREST”
By Amanda Gilmore
Writer-Director Jonathan Glazer’s fourth feature is a chilling look at the banality of evil. Freely adapted from Martin Amis’s 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. It’s beautiful, peaceful. However, Glazer doesn’t 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 it’s hard to believe The Zone of Interest would be as successful without it.
This opening immediately tells us that all isn’t right with this family. Before long, they return home to their vast house with a lush garden…just on the other side of the barbed-wire-topped wall of the camp. Glazer doesn’t show us the atrocities that are happening over the wall. He doesn’t have to. We know what’s happened. Other Films have depicted it and we’ve 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, Glazer’s 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 Rudolf’s wife Hedwig (Sandra Hüller who gives a terrifying performance). When her perfect life becomes threatened she snaps at her servants. Saying, “You know I could have my husband burn you right?” These remarks take a stark look at the banality of evil that churns your stomach. It’s unbearable to be around this family, yet The Zone of Interest is utterly captivating you can’t find yourself escaping their inhumanity.
It’s hard to focus on these subjects without giving them the upper hand. After all, we are focusing solely on this Nazi family. But Glazer’s 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 isn’t 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. It’s not to be missed.
THE ZONE OF INTEREST screens at Cannes ’23:
Fri May 19 at 7PM at GRAND THÉÂTRE LUMIÈRE
Sat May 20 at 8:30AM at GRAND THÉÂTRE LUMIÈRE
Sat May 20 at 11:15AM at CINEUM IMAX
Sat May 20 at 6:45PM at LICORNE
Sat May 20 at 9PM at AGNÈS VARDA THEATRE
Sun May 21 at 3:15PM at CINEUM AURORE
#CANNES: “HOW TO HAVE SEX” REVIEW
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
#CANNES: “THE SWEET EAST” REVIEW
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 cunning 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
#CANNES: “BLACK FLIES” REVIEW
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