Valery Carnoy’s boxing drama Wild Foxes boasts a standout performance from Samuel Kircher as a teenage boy navigating the mindfields of masculinity.
Wild Foxes Bobs and Weaves Through the Minefields of Toxic Masculinity
Category: Directors’ Fortnight
Peak Everything. Love and Climate Change.
A depressed kennel owner falls in love with a phone technician in Quebecois comedy Peak Everything, the rare fest film with crossover appeal.
Her Will Be Done is Feverish, Ugly and Hard to Shake
With echoes of Wake in Fright and Carrie, Julia Kowalski’s Her Will Be Done is a provocative, satisfying body horror that lingers long in the memory.
The Girl in The Snow Cleverly Belies Its Classical Aesthetic
Multiple layers of ambiguity characterise Louise Hémon’s debut feature, a fascinating turn-of-the-century tale about the snowy road to enlightenment.
Death Does Not Exist Traipses Aimlessly Through the Forest
A fine animation style is wasted by a deadeningly boring script in Félix Dufour-Laperrière’s surrealist eco-thriller Death Does Not Exist.
Plastic Guns. A Perfect Shitpost.
Jean-Christophe Meurisse’s Plastic Guns doubles down on the provocations of Bloody Oranges in an off-kilter, hilarious and deeply nasty farce.
The Other Way Around Is Repetitive. Meaningful. Beautiful. Repetitive.
There is beauty and meaning littered throughout the repetitive actions of Jonás Trueba’s endlessly playful Directors’ Fortnight romcom The Other Way Around.
The Empty Pageantry of Savanna and the Mountain
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.
Parsing the Puzzling Persian of Universal Language
Matthew Rankin’s culture-bending comedy fable throws up all kinds of intellectual questions, but rarely engages on a deeper, emotional level.
(Don’t) Believe The Hyperboreans
Disturbing and entertaining in equal measure, Cristobal León and Joaquín Cociña’s wildly inventive metafiction The Hyperboreans is a standout work from Cannes.