Our chief critic’s considered verdict on new movies from big-hitters Almodóvar, Tarantino, Malick and Loach, as well as the buzz around homegrown talent Céline Sciamma
This has been an excellent Cannes, despite a middling opener from Jim Jarmusch – a tongue-in-cheek zombie comedy called The Dead Don’t Die, which was moderately amusing when we were hoping for immoderately.
It is not merely that great work has been presented by the established old-stagers and silverback gorillas of the festival’s history; there has been great work from newer names and younger voices, too. There were outstanding films by Pedro Almodóvar, Ken Loach and Quentin Tarantino, each of whom delivered thoroughly characteristic work, but deeply satisfying for all that. Almodóvar’s Pain and Glory is a complex, absorbing auto-fiction based on the director’s own life. Ken Loach’s Sorry We Missed You, with its well-researched screenplay by Paul Laverty, is an angrily passionate denunciation of zero-hours Britain. And Quentin Tarantino gave us a showstopper with his extraordinary late-60s LA exploitation thriller Once Upon a Time … in Hollywood, starring Brad Pitt and Leonardo DiCaprio. Cannes’ youngest master, that remarkable 30-year-old veteran Xavier Dolan, had me utterly romanced with his complex love story Matthias & Maxime.
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