Jean-Christophe Meurisse’s Plastic Guns doubles down on the provocations of Bloody Oranges in an off-kilter, hilarious and deeply nasty farce.
Plastic Guns. A Perfect Shitpost.
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Exploring the Outer Edge of Film
Jean-Christophe Meurisse’s Plastic Guns doubles down on the provocations of Bloody Oranges in an off-kilter, hilarious and deeply nasty farce.
There is beauty and meaning littered throughout the repetitive actions of Jonás Trueba’s endlessly playful Directors’ Fortnight romcom The Other Way Around.
A group of villagers stage a series of increasingly bizarre protests against the development of a lithium mine in the unengaging Savanna and the Mountain.
Matthew Rankin’s culture-bending comedy fable throws up all kinds of intellectual questions, but rarely engages on a deeper, emotional level.
Disturbing and entertaining in equal measure, Cristobal León and Joaquín Cociña’s wildly inventive metafiction The Hyperboreans is a standout work from Cannes.
When the Light Breaks is Rúnarsson’s return to his earlier, sadder work, but is undone by an unnecessarily sentimental streak. Opens Un Certain Regard.
Hong Sangsoo returns with In Our Day, a delightful tale that reminds us that contentment can be found in a drink of soju or a puff on a cigarette.
A Song Sung Blue has every shade of blue you can hope for. But perhaps gorgeous aesthetics can only get you so far. Playing at Directors’ Fortnight.
Elene Naveriani shares casting Eka Chavleishvili, portraying older bodies, and casting a critical eye over rural Georgia in Blackbird Blackbird Blackberry.
With their third film, Blackbird Blackbird Blackberry, Georgian director Elene Naveriani re-asserts themselves as a major voice in world cinema.